Preventive Conservation for Historic House Museums is a primer on the preventive care practices that these unique sites need to slow the rate of deterioration and prevent damage and wear to the property and its collections. It proposes a collaborative approach to preservation planning that is based on interdisciplinary research, critical thinking, and observation rather than rote maintenance schedules and everyday residential cleaning practices. The authors recommend that sites have documents and plans in place that direct the intellectual and physical control of the collections and site. The intellectual controls include administrative and management policies and procedures; the physical controls include security and safety precautions, routine maintenance and cleaning practices among others. Historic house administrators, staff, board members, and volunteers will find this volume indispensable. Professionals who deal with historic sites from the museum administrator or curator, to architect, to engineer, as well as students pursuing studies in the field of preservation and conservation will also find this a valuable reference. This volume promotes a pro-active approach to preservation planning for historic sites and their collections.

Museums and libraries inspire us to cross the limits of routine thought, into experiences of reflection and possibility. Each of the essays in A Place Not a Place examines the ways these and other cultural institutions influence us and proposes ways to strengthen their role as advocates for critical thinking and inquiry.

This important new work explores how museums of human evolution developed in the USA, UK, and Australia in the late 19th century. This historical investigation also contributes to current debates, both on relationships between culture and society, and to the rapidly changing practices of modern museums as they seek to shed the legacies of both evolutionary conceptions and colonial science, with the goal of contributing to the development and management of cultural diversity.

Finding a museum job is a highly competitive endeavor today. The unprecedented international growth of museums combined with a similar growth in programs to train staff for these unique institutions has vastly increased the number of qualified applicants for positions of all sorts. Finding work in museums now requires a broad understanding of how employees are sought and hired. This is especially true for those in the early stages of their careers. How to Get a Museum Job provides a detailed look at hiring in the museum job market today. It offers practical inside advice by a museum professional with nearly fifty years in the museum field - as both a seeker and provider of employment. Designed for those just entering or new to the museum field, those seeking to switch jobs or move up the ladder will also find valuable tips.

Heritage, as an area of research and learning, often deals with difficult historical questions, due to the strong emotions and political commitments that are often at stake. In this, it poses particular challenges for teachers, museum educators and the publics they serve. Guided by a shared focus on these "sensitive pasts," the contributors to this volume draw on new theoretical and empirical research to provide valuable insights into heritage pedagogy. Together they demonstrate the potential of heritage as a historical-educational domain that transcends myopic patriotism, parochialism and simplistic relativism, helping to enhance critical and sophisticated historical thinking.

This research examines how museums and heritage sites can embrace a social justice approach to tackle inequalities and how they can empower disadvantaged groups to take an equal benefit from cultural resources. This Element argues that heritage institutions can use their collections of material culture more effectively to respond to social issues, and examines how they can promote equal access to resources for all people, regardless of their backgrounds. This research examines heritage and museum practices, ranging from critical and democratic approaches to authoritarian practices to expose the pitfalls and potentials therein. By analysing case studies, examining institutions' current efforts and suggesting opportunities for further development with regard to social justice, this Element argues that heritage sites and museums have great potential to tackle social issues and to create a platform for the equal redistribution of cultural resources, the recognition of diversities and the representation of diverse voices.

The history and meaning of the Berlin Wall remain controversial, even three decades after its fall. Drawing on an extensive range of archival sources and interviews, this book profiles key memory activists who have fought to commemorate the history of the Berlin Wall and examines their role in the creation of a new German national narrative. With victims, perpetrators and heroes, the Berlin Wall has joined the Holocaust as an essential part of German collective memory. Key Wall anniversaries have become signposts marking German views of the past, its relevance to the present, and the complicated project of defining German national identity. Considering multiple German approaches to remembering the Wall via memorials, trials, public ceremonies, films, and music, this revelatory work also traces how global memory of the Wall has impacted German memory policy. It depicts the power and fragility of state-backed memory projects, and the potential of such projects to reconcile or divide.

Today, the National Museum of Antiquities in Leiden is internationally known for its outstanding archaeological collections. Yet its origins lie in an insignificant assortment of artefacts used for study by Leiden University. How did this transformation come about?
Ruurd Halbertsma has delved into the archives to show that the appointment of Caspar Reuvens as Professor of Archaeology in 1818 was the crucial turning point. He tells the dramatic story of Reuvens' struggle to establish the museum, with battles against rival scholars, red tape and the Dutch attitude of neglect towards archaeological monuments. This book throws new light on the process of creating a national museum, and the difficulties of convincing society of the value of the past.

As the definitive resource on the architectural history of New York City, The Landmarks of New York documents and illustrates the 1,352 individual landmarks and 135 historic districts that have been accorded landmark status by the New York City Landmarks Preservation Commission since its establishment in 1965. Arranged chronologically by date of construction, the book offers a sequential overview of the city’s architectural history and richness, presenting a broad range of styles and building types: colonial farmhouses, Gilded Age mansions, churches, schools, libraries, museums, and the great twentieth-century skyscrapers that are recognized throughout the world. That so many of these structures have endured is due, in large measure, to the efforts of the New York City Landmarks Preservation Commission and hundreds of private sector preservation organizations, large and small. Since the commission was established, New York City has become the leader of the preservation movement in the United States, with more buildings and districts designated and protected than in any other city. The Landmarks of New York includes such iconic structures as Grand Central Station, the Chrysler Building, the Metropolitan Museum of Art, and Carnegie Hall, as well as those that may be less well known but are of significant historical and architectural value: the Pieter Claesen Wyckoff House in Brooklyn, the oldest structure in New York City; the Bowne House in Queens, the birthplace of American religious freedom; the Watchtower in Marcus Garvey Park in Harlem; the New York Botanical Garden in The Bronx; and Sailors Snug Harbor on Staten Island. The sixth edition adds 106 new individual landmarks, two special addenda on the hotly-contested “back-log” and resultant 30 pending designations, over 150 new photographs, and new historic district maps.

The Collector's Voice is a major four-volume project which brings together in accessible form material relevant to the history and practice of collecting in the European tradition from c. 1500 BC to the present day. The series demonstrates how attitudes to objects, the collecting of objects, and the shape of the museum institution have developed over the past 3000 years. Material presented includes translations of a wide range of original documents: letters, official reports, verse, fiction, travellers' accounts, catalogues and labels. Volume 1: Ancient Voices, edited by Susan Pearce and Alexandra Bounia Volume 2: Early Voices, edited by Susan Pearce and Kenneth Arnold Volume 3: Imperial Voices, edited by Susan Pearce and Rosemary Flanders Volume 4: Contemporary Voices, edited by Susan Pearce and Paul Martin

Explaining and critically reviewing management procedures such as performance indicators and strategic planning, this book shows how techniques from mainstream management can be used to facilitate a holistic and professional approach to the business of conservation and collection preservation. It offers practical guidance on strategy, quantitative planning and condition surveying, and presents many solutions to the challenges faced by museum staff and conservation specialists.This new edition takes into account changes such as the arrival of the Heritage Lottery Fund, policies for access and the growing convergence of museums, libraries and archives. It also highlights the advent of digital collections and the use of information and communications technology.

Grant funding is a critical part of museum life, yet to many it seems mysterious. This second edition of Is Your Museum Grant-Ready? is your guide to assessing readiness to attract grants, understanding how grant funders work, learning how to design highly-fundable projects and programs, and writing and submitting proposals. The author's tips, charts, models, and examples will help you create a manageable and rewarding grant program, or update and strengthen your present program. How can grants strengthen your institution? How do you know if your institution is ready to win grants? How do you know where to apply? What can you do to improve your chances of winning a grant? How has the world of grant funding changed? Every zoo, garden, aquarium, museum and historic site finds itself asking these questions when considering grant funding to expand or improve programs, broaden its reach, or simply maintain its existing level of performance. Here are your answers. Is Your Museum Grant-Ready? is invaluable to museums and informal learning institutions, and to students studying museum work.

This Element addresses the cultural production of ancient Egypt in the museum as a mixture of multiple pasts and presents that cohere around collections; their artefacts, documentation, storage, research, and display. Its four sections examine how ideas about the past are formed by museum assemblages: how their histories of acquisition and documentation shape interpretation, the range of materials that comprise them, the influence of their geographical framing, and the moments of remaking that might be possible. Throughout, the importance of critical approaches to interpretation is underscored, reasserting the museum as a site of active research and experiment, rather than only exhibitionary product or communicative media. It argues for a multi-directional approach to museum work that seeks to reveal the inter-relations of collection histories and which has implications not just for museum representation and documentation, but also for archaeological practice more broadly.

Produced by The University of South Carolina's School of Library and Information Science this is the authoritative annual compilation of research, best practices, and a review of literature in the fields of cultural heritage, imaging for museums and libraries, and digital humanities. The scope is international. The Annual will build on the commonality of interests between museums, archives and libraries, and scholarship in the arts and humanities. An editorial board will be comprised of four to seven scholars in the field to include but not limited to researchers and information professionals with previous work in the field of cultural heritage and informatics. Each issue will contain three major parts: * Original research articles * Literature reviews on the three main research areas in the field:, Social networking and cultural institutions, the value of culture, and open source resources * Overview of trends and technologies in the field The Annual Review is an essential overview and synthesis of this nascent and growing field.

Whether a world fair, an art gallery, a museum or trade show, all exhibitions deal with the same basic commodities, objects and informative space.A The skill of the exhibition designer lies in using suitable techniques to ensure that the objects are explained in an accessible way to the widest audience. This guide deals with the whole range of exhibition design, describing both people and processes involved in briefing, mounting, maintaining and evaluating exhibitions. It provides the essential principles of designing an exhibition, whatever its nature and size, and serves as an introduction for the non-specialist and a guide to good practice for students and professionals alike.

Colonialism has shaped the world we live in today and has often been studied at a global level, but there is less understanding of how colonial relations operated locally. This book takes twentieth-century Papua New Guinea as its focus, and charts the changes in colonial relationships as they were expressed through the flow of material culture. Exploring the links between colonialism and material culture in general, the authors focus on the particular insights that museum collections can provide into social relations.
Collections made by anthropologists in New Britain in the first half of the century are compared with recent fieldwork in the area to provide a particularly in-depth picture of historical change. Museum collections can reveal how people dealt with changes in the nature of community, gender relations and notions of power through the shifting use of objects in ritual and exchange. Objects, photographs and archives bring to life both the individual characters of colonial New Britain and the longer-term patterns of history. Drawing on the related disciplines of archaeology, linguistics, history and anthropology, the authors provide fresh insights into the complexities of colonial life. In particular, they show how social relationships among Melanesians, whites and other communities helped to erode distinctions between colonizers and locals, distinctions that have been maintained by scholars of colonialism in the past.
This book successfully combines a specific geographical focus with an interest in the broader questions that surround colonial relations, historical change and the history of anthropology.

It is clear that artifacts have the power to provoke thought, inspire action and arouse passions. There is evidence of this in the ever-increasing number of museums as well as in the ability of those museums to stimulate controversy through exhibits. As a consequence, much has been written analyzing the interaction between objects and museum visitors. Less well recognized, or understood, is the value of objects for historical research. In this series of books we propose to show by example how artifacts can be employed in the study of the history of science and technology in ways ranging from motivating a line of research to providing hard evidence in the solution of an otherwise insoluble problem. The first volume focused on medicine; in this, the second volume, the topic our authors address is electronics. As readers will discover, there is considerable scope in the range of topics and in the range of uses of artifacts. There is also a section that suggests to readers what kind of questions they might consider when they visit electrical exhibits, and where those exhibits are to be found.
This series is sponsored by the Deutsches Museum in Munich, the Science Museum in London, and the Smithsonian Institution in Washington, with help from professional historians in other museums and elsewhere.

Visitor-Centered Exhibitions and Edu-Curation in Art Museums promotes balanced practices that are visitor-centered while honoring the integrity and powerful storytelling of art objects. Book examples present best practices that move beyond the turning point, where curation and education are engaged in full and equal collaboration. With a mix of theory and models for practice, the book: * provides a rationale for visitor-centered exhibitions; * addresses important related issues, such as collaboration and evaluation; and, * presents success stories written by educators, curators, and professors from the United States and Europe. * introduces the edu-curator, a new vision for leadership in museums with visitor-centered exhibition practices. The book is intended for art museum practitioners, including educators, curators, and exhibitions designers, as well as higher education faculty and students in art/museum education, art history, and museum studies.

Papers from the 1999 conference by the Museum of Scotland. Aims to generate international comparison and debate about interpretation and presentation of heritage assets, and to examine the role of museums in shaping national identity.

This book elaborates on different aspects of the decision making process concerning the management of climate risk in museums and historic houses. The goal of this publication is to assist collection managers and caretakers by providing information that will allow responsible decisions about the museum indoor climate to be made. The focus is not only on the outcome, but also on the equally important process that leads to that outcome. The different steps contribute significantly to the understanding of the needs of movable and immovable heritage. The decision making process to determine the requirements for the museum indoor climate includes nine steps: Step 1. The process to make a balanced decision starts by clarifying the decision context and evaluating what is important to the decision maker by developing clear objectives. In Step 2 the value of all heritage assets that are affected by the decision are evaluated and the significance of the building and the movable collection is made explicit. Step 3. The climate risks to the moveable collection are assessed. Step 4: Those parts of the building that are considered valuable and susceptible to certain climate conditions are identified. Step 5. The human comfort needs for visitors and staff are expressed. Step 6: To understand the indoor climate, the building physics are explored. Step 7. The climate specifications derived from step 3 to 5 are weighed and for each climate zone the optimal climate conditions are specified. Step 8: Within the value framework established in Step 1, the options to optimize the indoor climate are considered and selected. Step 9: All options to reduce the climate collection risks are evaluated by the objectives established in Step 1.

Interpreting Agriculture in Museums and Historic Sites orients readers to major themes in agriculture and techniques in education and interpretation that can help you develop humanities-based public programming that enhance agricultural literacy. Case studies illustrate the ways that local research can help you link your history organization to compelling local, national (even international) stories focused on the multidisciplinary topic. That ordinary plow, pitch fork, and butter paddle can provide the tangible evidence of the story worth telling, even if the farm land has disappeared into subdivisions and agriculture seems as remote as the nineteenth century. Other topics include discussion of alliances between rural tourism and community-supported agriculture, farmland conservation and stewardship, heritage breed and seed preservation efforts, and antique tractor clubs. Any of these can become indispensable partners to history organizations searching for a new interpretive theme to explore and new partners to engage.

A successfully managed project is a carefully planned and organized effort. A critical and essential skill for any art service manager is project management—the ability to organize resources--labor, budgets, materials-- and handle constraints so that a project’s goals are successfully accomplished. Learn the essentials of project management for planning and executing collections management projects. This book will discuss developing and managing multi-faceted projects from the project manager’s point-of-view, including: estate moves, exhibition planning for preparers, storage setup, planning and maintenance, storage movement and planning, collection relocations, traveling exhibitions, art fairs, and prioritizing overlapping projects. This book will discuss every day matters such as: ·Identifying your stake holders and foreseeing potential stake holder conflicts, ·Identifying the project’s goals and parameters, ·Outlining goals for initial and follow-up site visits, ·Guidelines for conducting a site visit, ·Planning for art and material staging, ·Estimating and quoting time, labor, and materials, ·Understanding and estimating hard and soft costs in your budget, ·Planning for contingencies, ·Developing budgets and timelines, ·Scheduling overlapping tasks, ·Creating daily goal sheets and project punch lists, ·Training and staffing your crew, ·Assigning crew leaders, ·Delegating project responsibilities, ·Managing quality control and industry standards, ·Understanding project completion, post completion, and follow up, and ·Managing multiple projects. Over 50 graphics help to make this a book you’ll use every day

This Element argues that community-initiated migrant heritage harbours the potential to challenge and expand state-sanctioned renderings of multiculturalism in liberal nation-states. In this search for alternative readings, community-initiated migrant heritage is positioned as a grassroots challenge to positivist state-multiculturalism. It can do this if we adopt the migrant perspective, a diasporic perspective of 'settlement' that is always unfinished, non-static, and non-essentialist. As mobile subjects, either once or many times over - a subject position arrived at through acts of mobility, sometimes spawned by violence or structural inequality, which can reverberate throughout subsequent generations - the migrant subject position compels us to look both forwards and backwards in time and place.

Heritage is all around us, not just in monuments and museums, but in places that matter, in the countryside and in collections and stories. It touches all of us. How do we decide what to preserve? How do we make the case for heritage when there are so many other priorities? Playing with the Past is the first ever action-learning book about heritage. Over eighty creative activities and games encompass the basics of heritage practice, from management and decisionmaking to community engagement and leadership. Although designed to 'train the trainers', the activities in the book are relevant to anyone involved in caring for heritage.