Collaboration and interdisciplinary practice in the museum are on the rise. Academics, Artists, and Museums examines twenty-first century partnerships between the museum and higher education sectors, with a focus on art museums and exhibits. The edited volume offers detailed analysis of how innovative curatorial relationships between museums and academia have sought to engage new, younger, audiences through the collaborative transformation of museums and exhibitions. Thematic topics explored include the forming and nature of interdisciplinary partnerships, the integration of museum learning into higher education, audience engagement, and digital technology. With a particular emphasis on practice in the US, the range of projects discussed includes those at both widely recognized and lesser known institutions, from The Met to the Tohono O'odham Nation Cultural Center in the US, to Ewha University Museum in South Korea, and Palazzo Strozzi in Italy. The role of art and the work of the artist are firmly positioned at the core of many of the relationships explored. Academics, Artists, and Museums advocates for the museum as an experimental 'laboratory' where academia, art and the museum profession can combine to engage new audiences. It is a useful resource for museum professionals, artists, scholars, and students interested in collaboration and innovative practice.

In 2015, the General Assembly of State Parties to the World Heritage Convention passed a ground-breaking Sustainable Development policy that seeks to bring the World Heritage system into line with the UN's sustainable development agenda (UNESCO 2015). World Heritage and Sustainable Development provides a broad overview of the process that brought about the new policy and the implications of its enactment. The book is divided into four parts. Part I puts the policy in its historical and theoretical context, and Part II offers an analysis of the four policy dimensions on which the policy is based - environmental sustainability, inclusive social development, inclusive economic development and the fostering of peace and security. Part III presents perspectives from IUCN, ICOMOS and ICCROM - the three Advisory Bodies to the World Heritage Committee, and Part IV offers 'case study' perspectives on the practical implications of the policy. Contributions come from a wide range of experienced heritage professionals and practitioners who offer both 'inside' perspectives on the evolution of the policy and 'outside' perspectives on its implications. Combined, they present and analyse the main ideas, debates and implications of the policy change. This book is key reading for all heritage professionals interested in developing a better understanding of the new Sustainable Development policy. It is also essential reading for scholars and students working in the area.

Well-known public historian Robert Archibald's personal exploration of the intersections of history, memory, and community reveals how we participate in the making and sustaining of community as well as how we remember the community that shaped us. Writing in a rich literary narrative, Archibald blends local history, personal reminiscence, and an analysis of the changing meaning of community with a passionate call for more effective public history. A Place to Remember poetically illustrates how we are active participants in the past and the role and importance of history in contemporary life.

Trauma, Cultural Complexes, and Transformation: Folk Narratives and Present Realities contributes to our understanding of how culturally traumatic events affect present day realities, and suggests the potential for healing by combining theories on psychological trauma, cultural complexes, and transformations. It draws on insight from a range of disciplines, including Jungian psychology, literary criticism, folkloristics, neurosciences, quantum physics, and social studies. Evija Volfa Vestergaard maps folk narratives of human encounters with extra-human entities as communications of cultural traumas suffered by tellers who are embedded in particular historical and geographical settings, focusing on the little-explored globally emerging cultures of Latvia and South Africa, alongside the United States of America. These cultural narratives form a bridge to a discourse on the social, political, and economic issues faced by these countries and the world at large. Vestergaard outlines the parallels between dreams and visions of individuals essential in healing, and the mythological legend genre serving the same function for groups and cultures, demonstrating that the aim of these open-ended communications is not only to reveal hidden truth, but also to stir our imagination about potentialities. Healing of traumas demands a world of global relatedness based on nurturing kinship, and such a transformation begins with imagining. Trauma, Cultural Complexes, and Transformation represents essential reading for academics and students of Jungian and post-Jungian studies, folklore, psychology, cultural studies and anthropology, as well as Jungian analysts and psychotherapists.

Children are one of the major audiences for museums, but their visits are often seen solely from the point of view of museum learning. In Snapshots of Museum Experience, Will Buckingham draws upon Elee Kirk's research amongst child visitors to the Oxford University Museum of Natural History, to take a different approach. Using a method of photo-elicitation with four-and five-year-old child visitors to the museum, the book investigates children's experience of the museum, and in the process undermines many of our assumptions about the interests, needs and demands of child museum visitors. Drawing together the fields of museum studies and childhood studies, the book considers children as active creators of the museum visit. It investigates the way that children navigate and take control of the physical and social spaces of the museum, finding their own idiosyncratic pathways through these spaces. It also explores how elements of the museum 'light up', becoming salient to the child visitor. Finally, it investigates how children make sense through intellectually and imaginatively engaging with these elements of the museum visit. Snapshots of Museum Experience gives a unique insight into the sheer diversity of children's museum experiences and discusses how museums might cater more successfully to the needs of their child visitors. As such, it should be of great interest to academics, researchers and students in the fields of museum studies, visitor studies and childhood studies. It should also be essential reading for museum educators and exhibition designers.

Series Information:
Native Americans: Interdisciplinary Perspectives

In this updated and revised second edition, Eilean Hooper-Greenhill compiles recent and important articles that address the relationships of museums and galleries to their audiences. The Educational Role of the Museum covers broad themes relevant to providing for all museum visitors and also focuses specifically on educational groups.

'Chemical Principles of Textile Conservation' provides must-have knowledge for conservators who do not always have a scientific background. This vital book brings together from many sources the material science necessary to understand the properties, deterioration and investigation of textile artefacts. It also aids understanding of the chemical processes during various treatments, such as: cleaning; humidification; drying; disinfestation; disinfection; and the use of adhesives and consolidants in conservation of historical textiles. Textile conservators will now have ready access to the necessary knowledge to understand the chemistry of the objects they are asked to treat and to make informed decisions about how to preserve textiles. The combination of a chemist and a conservator provides the perfect authorial team. It ensures a unique dual function of the text which provides textile conservators with vital chemical knowledge and gives scientists an understanding of textile conservation necessary to direct their research. The many practical examples and case studies illustrate the utility of the relatively large chemical introduction and the essential chemical information which is included. The case studies, many illustrated in colour, range from the treatment of the Ghandis' clothes, high-altitude flying suits and a Mary Quant raincoat, to the Hungarian Coronation Mantle.

Providing an overview of the marketing principles and tools that pertain to the area of heritage conservation services, this book combines research and practice to offer an alternative to the classical transactional marketing approach. Instead, the author argues for the relationship marketing approach, promoted and adopted by the Nordic School of Service Marketing. Offering a startlingly rare, but logical and practical marketing approach, this book also provides food for thought for academics dealing with managerial and marketing aspects in the field of cultural heritage and cultural heritage services.

Series Information:
Museum Meanings

The development of interactive displays has transformed the traditional museum world in the last decade. Visitors are no longer satisfied by simply gazing at worthy displays in glass cases - they expect to have hands-on experience of the objects and be actively involved with the exhibits, learning informally and being entertained simultaneously. Hands-on museums and science centres provide the most remarkable example of how museums are redefining their roles in society - improving access to real objects and real phenomena, so that they can be enjoyed by more people.
In recent years museums have been thrust into intense competition for the public's time and money with all branches of the leisure industry, from commercial theme parks to retail shopping and home entertainment. This has upset the traditional stability of the museum and their visitors. A hands-on approach encourages a broader visitor base, which in turn helps to bring in additional revenue at a time of declining public subsidy.
Tim Caulton investigates how to create and operate effective exhibitions which achieve their educational objectives through hands-on access. He concludes that the continuing success of hands-on museums and science centres hinges on attaining the very best practice in exhibition design and evaluation, and in all aspects of operations, including marketing and financial and human resource management. Hands-On Exhibitions provides a practical guide to best practice which will be indispensable to all museum professionals and students of museum studies.

The development of interactive displays has transformed the traditional museum world in the last decade. Visitors are no longer satisfied by simply gazing at worthy displays in glass cases - they expect to have hands-on experience of the objects and be actively involved with the exhibits, learning informally and being entertained simultaneously. Hands-on museums and science centres provide the most remarkable example of how museums are redefining their roles in society - improving access to real objects and real phenomena, so that they can be enjoyed by more people.
In recent years museums have been thrust into intense competition for the public's time and money with all branches of the leisure industry, from commercial theme parks to retail shopping and home entertainment. This has upset the traditional stability of the museum and their visitors. A hands-on approach encourages a broader visitor base, which in turn helps to bring in additional revenue at a time of declining public subsidy.
Tim Caulton investigates how to create and operate effective exhibitions which achieve their educational objectives through hands-on access. He concludes that the continuing success of hands-on museums and science centres hinges on attaining the very best practice in exhibition design and evaluation, and in all aspects of operations, including marketing and financial and human resource management. Hands-On Exhibitions provides a practical guide to best practice which will be indispensable to all museum professionals and students of museum studies.

The assumption that museum exhibitions, particularly those concerned with science and technology, are somehow neutral and impartial is today being challenged both in the public arena and in the academy. The Politics of Display brings together studies of contemporary and historical exhibitions and contends that exhibitions are never, and never have been, above politics. Rather, technologies of display and ideas about 'science' and 'objectivity' are mobilized to tell stories of progress, citizenship, racial and national difference. The display of the Enola Gay, the aircraft which dropped the atomic bomb on Hiroshima is a well-known case in point.
The Politics of Display charts the changing relationship between displays and their audience and analyzes the consequent shift in styles of representation towards interactive, multimedia and reflexive modes of display. The Politics of Display brings together an array of international scholars in the disciplines of sociology, anthropology and history. Examples are taken from exhibitions of science, technology and industry, anthropology, geology, natural history and medicine, and locations include the United States of America, Australia, the United Kingdom, France, the Netherlands and Spain.
This book is an excellent contribution to debates about the politics of public culture. It will be of interest to students of sociology, anthropology, cultural studies, museum studies and science studies.

The assumption that museum exhibitions, particularly those concerned with science and technology, are somehow neutral and impartial is today being challenged both in the public arena and in the academy. The Politics of Display brings together studies of contemporary and historical exhibitions and contends that exhibitions are never, and never have been, above politics. Rather, technologies of display and ideas about 'science' and 'objectivity' are mobilized to tell stories of progress, citizenship, racial and national difference. The display of the Enola Gay, the aircraft which dropped the atomic bomb on Hiroshima is a well-known case in point.
The Politics of Display charts the changing relationship between displays and their audience and analyzes the consequent shift in styles of representation towards interactive, multimedia and reflexive modes of display. The Politics of Display brings together an array of international scholars in the disciplines of sociology, anthropology and history. Examples are taken from exhibitions of science, technology and industry, anthropology, geology, natural history and medicine, and locations include the United States of America, Australia, the United Kingdom, France, the Netherlands and Spain.
This book is an excellent contribution to debates about the politics of public culture. It will be of interest to students of sociology, anthropology, cultural studies, museum studies and science studies.

The post-colonial world has seen a major re-evaluation of the insititutions and ideologies of colonialism. Post-colonial theory has enriched our understanding of the history and literature of colonial periods. With reference to this trend, this collection examines the artistic production of both imperial nations and their colonies and aims to show how it was affected by colonial contact. Drawing together an international group of scholars from a variety of disciplinary and cultural backgrounds, it presents case studies of objects from India, Pakistan, New Zealand, China and Africa which were collected by or exhibited in the institutions of the British Empire. Other chapters address issues of racial identity across cultural barriers and the hybrid styles which can emerge when cultures meet. The contributors also consider how we, in the post-colonial era, should interpret the cultural production of the colonial world and how through displaying these objects, contemporary museum practice can address the artistic inheritance of colonialism.

The post-colonial world has seen a major re-evaluation, political as well as theoretical, of the institutions and ideologies of colonialism. In addition to historical and literary studies, innovative theoretical analyses have opened up new approaches to this subject area. In the light of this new thinking, Colonialism and the Object discusses the impact of colonial contact with other cultures on the material culture of both the colonized and the imperial nation.
Drawing together an international group of scholars from a variety of disciplinary and cultural backgrounds, Colonialism and the Object demonstrates that the intensive analyses of museum insights into issues of global importance. The volume includes intensive case-studies of objects from India, Pakistan, New Zealand, China and Africa, all of which were collected by or exhibited in the institutions of the British Empire. Other chapters address issues of radical identity across cultural barriers, and the hybird styles of objects which can emerge when cultures meet.
Colonialism and the Object is essential reading for all those interested in post-colonial theory, museum studies, material culture and design history.

Scandal, Shock and Rivalry Can Be an Artist's Best Friends Scandal, shock and rivalry all have negative connotations, don't they? They can be catastrophic to businesses and individual careers. A whiff of scandal can turn a politician into a smoking ruin. But these potentially disastrous "negatives" can and have spurred the world of fine art to new heights. A look at the history of art tells us that rivalries have, in fact, not only benefited the course of art, from ancient times to the present, but have also helped shape our narrative of art, lending it a sense of drama that it might otherwise lack, and therefore drawing the interest of a public who might not be drawn to the objects alone. There would be no Sistine Chapel by Michelangelo had rival Raphael not tricked the pope into assigning him the commission, certain that Michelangelo, who had never before worked with frescoes, would botch the job and become a laughing stock. Scandal and shock have proven to be powerful weapons when harnessed and wielded willfully and well. That scandal is good for exposure has been so obviously the case that many artists have courted it intentionally, which we will define as shock: intentionally overturning expectations of the majority in a way that traditionalist find dismaying or upsetting, but which a certain minority avant-garde find exciting. From Damien Hirst presenting the public with a shark embalmed in formaldehyde and entombed in a glass case to Marcel Duchamp trying to convince the art community that a urinal is a great sculpture shock has been a key promotional tool. The Devil in the Gallery is a guided tour of the history of art through it scandals, rivalries, and shocking acts, each of which resulted in a positive step forward for art in general and, in most cases, for the careers of the artists in question. In addition to telling dozens of stories, lavishly illustrated in full color, of such dramatic moments and arguing how they not only affected the history of art but affected it for the better, we will also examine the proactive role of the recipients of these intentionally dramatic actions: The art historians, the critics and even you, the general public. The Devil likes to lurk in dark corners of the art world, morphing into many forms. Let us shed light upon him.

The Museum in America captures the life stories of thirteen visionary museum leaders who helped transform the 19th century's collection of curios into today's institution of public service and education. In the lively style of Museum Masters, Alexander recounts the stories of pioneers in American history, science, art, and general museums. For anyone interested in the history of the museum, this volume is the place to start.

The Victorian era is famous for the collecting, hording, and displaying of things; for the mass production and consumption of things; for the invention, distribution and sale of things; for those who had things, and those who did not. For many people, the Victorian period is intrinsically associated with paraphernalia. This collection of essays explores the Victorians through their materiality, and asks how objects were part of being Victorian; which objects defined them, represented them, were uniquely theirs; and how reading the Victorians, through their possessions, can deepen our understanding of Victorian culture. Miscellaneous and often auxiliary, paraphernalia becomes the 'disjecta' of everyday life, deemed neither valuable enough for museums nor symbolic enough for purely literary study. This interdisciplinary collection looks at the historical, cultural and literary debris that makes up the background of Victorian life: Valentine's cards, fish tanks, sugar plums, china ornaments, hair ribbons, dresses and more. Contributors also, however, consider how we use Victorian objects to construct the Victorian today; museum spaces, the relation of Victorian text to object, and our reading - or gazing at - Victorian advertisements out of context on searchable online databases. Responding to thing theory and modern scholarship on Victorian material culture, this book addresses five key concerns of Victorian materiality: collecting; defining class in the home; objects becoming things; objects to texts; objects in circulation through print culture.

Several international and European institutions have given increasing importance to sustainable approaches to our existing building stock and the role of built heritage in this process. At the same time, preventive and planned conservation of built heritage has been increasingly recognised by researchers given its cost-effectiveness for owner-managers, effective long-term quality protection and environmental enhancement of structures, as well as its potential of activating heritage in the employment sector and empowering of local communities. 'Innovative Built Heritage Models' collects the lectures presented at the international conference on CHANGES (2017 Thematic Week, Leuven, Belgium, 6-8 February 2017). The aim of the conference was to provide an international overview of the existing strategies, processes and operational case studies that support the implementation of a preventive and planned conservation approach in the built heritage sector. The conference twins with the 'CHANGES' project, supported by the Joint Programming Initiative Heritage Plus programme. This publication meets the increasing demand for shared information to support the transition towards a more sustainable conservation process. The volume consists of three main parts: 'The CHANGES paradigm', 'Preventive and planned conservation' and 'Case studies of Change'. The book reflects on CHANGES in a straightforward manner by providing research and case studies that serve as baseline records, guidance and essential literature for researchers and practitioners involved in the built heritage sector.

Michael A. Fopp examines the highly sophisticated principles and techniques of modern business management from the perspective of museums and galleries and delineates their practical application. This volume surveys the day-to-day issues of time management, delegation and recruitment to the problems of strategic planning and initiating and controlling conflict and change. The study incorporates the needs of both the independent and national sectors and discusses the links between the museum and commerce.

Analysing the transformation of Berlin's former Allied border control point, "Checkpoint Charlie," into a global heritage industry, this volume provides an introduction to, and a theoretically informed structuring of, the interdisciplinary international heritage debate. This crucial case study demonstrates that an unregulated global heritage industry has developed in Berlin which capitalizes on the internationally very attractive - but locally still very painful - heritage of the Berlin Wall. Frank explores the conflicts that occur when private, commercial interests in interpreting and selling history to an international audience clash with traditional, institutionalized public forms of local and national heritage-making and commemorative practices, and with the victims' perspectives. Wall Memorials and Heritage illustrates existing approaches to heritage research and develops them in dialogue with Berlin's traditions of conveying history, and the specific configuration of the heritage industry at "Checkpoint Charlie". Productively integrating theory with empirical evidence, this innovative book enriches the international literature on heritage and its economic and political contexts.

Design Objects and the Museum brings together leading design historians, curators, educators and archivists to consider the place of contemporary design objects within museums. Contributors draw on a wide range of 20th century and contemporary examples from international museums to consider how design objects have been curated and displayed within and beyond the museum. The book continues contemporary global debates on the ways in which museums of design engage and educate their public. Chapters are grouped into three thematic sections addressing The Canon and Design in the Museum; Positioning Design within and Beyond the Museum; and Interpretation and the Challenge of Design, with chapters exploring museological practice and issues, the roles people play in creating meaning, and the challenges contemporary design presents to interpretation and learning within the museum.