Museums, Sexuality, and Gender Activism examines the role of exhibitionary institutions in representing LGBTQ+ people, cisgender women, and nonbinary individuals. Considering recent gender and sexuality-related developments through a critical lens, the volume contributes significantly to the growing body of activist writing on this topic. Building on Gender, Sexuality and Museums and featuring work from established voices, as well as newcomers, this volume offers risky and exciting articles from around the world. Chapters cover diverse topics, including transgender representation, erasure, and activism; two-spirit people, indigeneity, and museums; third genders; gender and sexuality in heritage sites and historic homes; temporary exhibitions on gender and sexuality; museum representations of HIV/AIDS; interventions to increase queer visibility and inclusion in galleries; LGBTQ+ staff alliances; and museums, gender ambiguity, and the disruption of binaries. Several chapters focus on areas outside the US and Europe, while others explore central topics through the perspectives of racial and ethnic minorities. Containing contributions that engage in sustained critique of current policies, theory, and practice, Museums, Sexuality, and Gender Activism is essential reading for those studying museums, women and gender, sexuality, culture, history, heritage, art, media, and anthropology. The book will also spark interest among museum practitioners, public archivists, and scholars researching related topics.

This volume focuses on the uses of collective memory in transatlantic relations between the United States, and Western and Central European nations in the period from the Cold War to the present day. Sitting at the intersection of international relations, history, memory studies and various "area" studies, Memory in Transatlantic Relations examines the role of memory in an international context, including the ways in which policy and decision makers utilize memory; the relationship between trauma, memory and international politics; the multiplicity of actors who shape memory; and the role of memory in the conflicts in post-Cold War Europe. Thematically organized and presenting studies centered on the U.S., Hungary, France, the Czech Republic and Slovakia, the authors explore the built environment (memorials) and performances of memory (commemorations), shedding light on the ways in which memories are mobilized to frame relations between the U.S. and nations in Western and Central Europe. As such, it will appeal to scholars across the social sciences and historians with interests in memory studies, foreign policy and international relations.

How do we see art? How is it displayed? One hundred years ago, art was shown in a way intended to educate. Galleries reflected the curator's view of history at the expense of differing opinions. Today, not only do museums and galleries celebrate these differences of expression, they also welcome the collaboration of living artists, promoting an active dialogue between the present and the past. Galleries and museums are no longer just repositories. They are sites of experience where the mind is often engaged as much as the eye. Here, Nicholas Serota presents a coherent historical account of changing attitudes to the way art is presented in the modern museum, examining the relationship between the artist, the public and the curator. He takes us into the artist's studio - itself a paradigm of display - and then on a knowledgeable and wide-ranging international tour of museums, galleries and installations, offering authoritative insights into the ways in which the display of art is likely to develop in the 21st century.

Democracy's Medici: The Federal Reserve and the Art of Collecting is a profile of the central bank seen from the perspective of the author's unorthodox art-historical career as founding Director of the Fine Arts Program of the Board of Governors of the Federal Reserve System. This is an insider's view by an art historian about the Federal Reserve culture, larger-than-life personalities, and the fine arts function set against the broader backdrop, both of the Fed's banking and regulatory mission, and the economic, political, and social context. During her 31-year tenure, Goley organized over 110 exhibitions on a range of subjects from New York Graffiti artists to the first U.S. exhibit of Charles Rennie Mackintosh. Adding a diplomatic mission to her portfolio, beginning in 1988, Goley worked with central banks and museums in Austria, Greece, Hungary, Israel, Poland, Romania, Spain, Switzerland, and The Netherlands to bring exhibits to the Federal Reserve. Scholarly contributions included the exhibitions: The Hague School and Its American Legacy, The Paintings of Eduard J. Steichen, AustrianBiedermeier, and Polish Constructivism, among others. Two exhibitions resulted in foreign decorations from The Netherlands and Luxembourg. In 2006 Goley organized The Face of Contemporary Art in China, the first of its kind in Washington, DC, for the Federal Reserve Board. She was twice knighted, in 1982 by Queen Beatrix of The Netherlands and in 1988 by the Grand Duke of Luxembourg. With little guidance, she built a remarkable art collection where there was none. J. Carter Brown, Director of the National Gallery of Art, wrote of the Fed's program, It is a model for others in our field to see someone take a challenge and make so much of it. You can find an interview with the author herehttps: //www.youtube.com/watch?v=m40d0sTQEec.

This book describes the geotechnical aspects for correcting the geometry of Mexico Citys Metropolitan Cathedral and of the adjoining Sagrario Church. It describes the main aspects of geotechnical conditions in the city and of the most important hazards affecting these monuments. It discusses the analyses performed and the actions taken to achieve the corrections required. The book aims to provide non-specialists with a clear picture of the magnitude and importance of the project and of the achievements it fulfilled. It is expected that the book will also appeal to specialized geotechnical engineers that will be provided with references to follow up the project in depth. The book will contain a large number of illustrations and will be written so as to provide "down to earth" explanations of the basic theories applied and of the actual construction procedures The work will appeal to both students and professionals in the fields of Architecture and Civil Engineering. It will also interest specialized audiences of geotechnical engineers and conservation architects and it may also be of value to art historians.

Queering the Museum develops a queer analysis of the ways in which museums construct themselves, their core business, and their publics through the, often unconscious, use of inherited ways of knowing and doing. Providing a critique of both the practices and conventions associated with the modern public museum, and the ontological assumptions that inform them, the authors consider recent discourse around inclusion in museums and explore the ways this has been taken up in practice. Highlighting the limits of particular approaches to inclusion, and the failure to move away from a traditional museological paradigm, the book outlines an alternative critical museological approach that the authors refer to as 'queer'. Providing readers with the critical tools necessary for a profound rethinking of museum practice, the book also responds to and problematises the growing call for social inclusion. Queering the Museum will appeal to academics, students, and museum and arts sector practitioners with an interest in critical theory or queer practice. It will be of particular interest to those working in the fields of museum studies, sociology, archaeology, anthropology, cultural studies, media, social policy, politics, philosophy, and history.

Against the backdrop of two recent socio-political developments-the shift from the Obama to the Trump administration and the surge in nationalist and populist sentiment that ushered in the current administration-Contested Commemoration in U.S. History presents eleven essays focused on practices of remembering contested events in America's national history. This edited volume contains fresh interpretations of public history and collective memory that explore the evolving relationship between the U.S. and its past. The individual chapters investigate efforts to memorialize events or interrogate instances of historical sanitization at the expense of less partial representations that would include other perspectives. The primary source material and geography covered is extensive; contributors use historic sites and monuments, photographs, memoirs, textbooks, periodicals, music, and film to discuss the periods from colonial America, through the Revolutionary and Civil Wars up until the Vietnam War, Civil Rights movement, and Cold War, to explore how the commemoration of those eras resonates in the twenty-first century. Through a range of commemoration media and primary sources, the authors illuminate themes and arguments that are indispensable to students, scholars, and practitioners interested in Public History and American Studies more broadly.

Hands on Media History explores the whole range of hands on media history techniques for the first time, offering both practical guides and general perspectives. It covers both analogue and digital media; film, television, video, gaming, photography and recorded sound. Understanding media means understanding the technologies involved. The hands on history approach can open our minds to new perceptions of how media technologies work and how we work with them. Essays in this collection explore the difficult questions of reconstruction and historical memory, and the issues of equipment degradation and loss. Hands on Media History is concerned with both the professional and the amateur, the producers and the users, providing a new perspective on one of the modern era's most urgent questions: what is the relationship between people and the technologies they use every day? Engaging and enlightening, this collection is a key reference for students and scholars of media studies, digital humanities, and for those interested in models of museum and research practice.

The Museum Curator's Guide is a practical reference book for emerging arts and heritage professionals working with a wide range of objects (including fine art, decorative arts, social history, ethnographic and archaeological collections), and explores the core work of the curator within a gallery or museum setting. Nicola Pickering provides a clear introduction to current material culture and museum studies theories, and shows the practical application of these theories to museum collections. She considers the role of the curator, their duties and interaction with objects, and also examines the care or preservation of objects and the ways they can be catalogued, displayed, moved, arranged, stored, interpreted and explained in museums today. The Museum Curator's Guide represents an essential and lasting resource for all those working with the collection, preservation and presentation of objects, including students of collections management and curatorship; current gallery and museum professionals; and private collectors.

Cultural organizations are entering an era of significant challenges. Rising operating costs, unpredictable funding sources, stagnant membership, and an increasingly competitive landscape for leisure activities indicate that these institutions have reached a critical juncture: what has worked for them in the past will not work going forward. At the same time, massive shifts in demographics and lifestyles are driving changes in consumer behavior that threaten the survival of the traditional membership business model. Drawing from a wide range of research spanning the disciplines of behavioral economics, philanthropy, and social psychology, author and museum consultant Rosie Siemer explores the trends shaping the future of cultural organizations and offers innovative strategies designed to help them survive--and thrive--in today's rapidly changing marketplace. Using museums as the primary subject matter of her research, Siemer analyzes the challenges and opportunities for membership as a means of engaging existing members, cultivating new audiences, and keeping museums on track for sustainable revenue. Tapping into the principles of design thinking and the lean startup methodology, Siemer provides a fresh perspective into how museum leaders can adapt systems, roles, and metrics to encourage experimentation, collaboration, and agility within their organizations. "Change is required for museums to keep ahead of the curve and remain competitive," Siemer writes. "Thankfully, the time for taking steps to evolve has never been better. New research, bold experiments, and pioneering leaders have helped to usher in an era of fresh thinking that challenges the status quo of the traditional membership model." Loaded with thought-provoking insights, innovative case studies, and practical applications for audience development, marketing, and membership, Museum Membership Innovation offers museum leaders a framework for reimagining membership with an empathy-first approach that prioritizes the needs of audiences.

Museum curators enter the profession with a specialist subject qualification and yet at some point in their career, many curators find themselves in charge of a range of collections outside of their expert knowledge. Interpreting, curating and caring for mixed collections demands of curators a wide range of knowledge and understanding. The Curation and Care of Museum Collections is designed to give curators the fundamental information and confidence they need to manage and care for all of the collections within their responsibility, regardless of their previous training and experience. Comprising two sections - Museum Collections, and Collection Development and Care - the chapters cover archaeology, art, history, military and natural sciences collections, as well as heritage properties. Every chapter in the book is focused on one type of collection, but all chapters in the collection management section contain advice on topics such as organisational philosophy, documentation, legal issues and materials in order to provide a useful and comprehensive guide to managing collections. The collection care section is structured in the same way, considering the issues of storage; display; handling; moving; packing; housekeeping; health and safety; emergency preparedness; and pest, pollution, environmental, light and vibration management. The contributors to this book are experienced museum professionals, each with their own specialism and a deep understanding of what it means to work in the context of mixed collections. Providing a highly practical guide, The Curation and Care of Museum Collections is essential reading for curators working in all types of museums, galleries and heritage sites, and for students of museology courses around the world.

1. This book explores the diversity of Africa's cultural heritage, analyses how and why this heritage has been managed and considers the factors that continue to influence management strategies and systems throughout the African continent. 2. This book includes contributions from a cast of prominent scholars and heritage professionals working across Africa. 3. This book examines the ideological influence of independence movements on the African continent's management and remembering of heritage. 4. This will be essential reading for those engaged in the study of museums and heritage, development, archaeology, anthropology, history and African studies. It will also be of interest to heritage and museum professionals who wish to learn more about the issues of decolonisation of heritage.

Contemporary Museum Architecture and Design showcases 18 diverse essays written by people who design, work in, and study museums, offering a variety of perspectives on this complex building type. Throughout, the authors emphasize new kinds of experiences that museum architecture helps create, connecting ideas about design at various levels of analysis, from thinking about how the building sits in the city to exploring the details of technology. With sections focusing on museums as architectural icons, community engagement through design, the role of gallery spaces in the experience of museums, disability experiences, and sustainable design for museums, the collected chapters cover topics both familiar and fresh to those interested in museum architecture. Featuring over 150 color illustrations, this book celebrates successful museum architecture while the critical analysis sheds light on important issues to consider in museum design. Written by an international range of museum administrators, architects, and researchers this collection is an essential resource for understanding the social impacts of museum architecture and design for professionals, students, and museum-lovers alike.

Landlord villages dominated Iranian land tenure for hundreds of years, whereby one powerful landlord owned the village structures, surrounding farmland, and to all intents and purposes, the village occupants themselves, a system that in some cases remained in place up to the 1979 Islamic Revolution. In Oman, mud-brick oases were home to most of the rural population right up until Sultan Qaboos came to power in 1970, and required inhabitants of mud-brick houses to relocate into new concrete block buildings. Historical Archaeology and Heritage in the Middle East explores these everyday, rural communities in Iran and Oman in the 19th and 20th centuries, through a combination of building analysis, excavation, artefact analysis and ethnographic interviews. Drawing on the results of original field projects, the book considers new ways of exploring traditional lifeways, giving voice to hitherto largely ignored sections of the population, and offers new and different ways of thinking about how these people lived and what shaped their lives and the impact of major political and social changes on them. Place, memory and belonging are considered through the lens of material culture within these villages. The first of its kind, the book brings together methodologies, research questions, and themes that have never been used or addressed in the Middle East. Helping to establish historical archaeology in the Middle East and providing new ways in which the memorable, quotidian past can be exploited for its social and economic value in contemporary community and heritage developments, it is an ideal resource for students, scholars and practitioners of historical archaeology and heritage of and in the Middle East.

Art works created by indigenous people on other continents in European and American museums have become subject of controversial debate. How exactly these collections of tribal art from Africa, North and South America, Asia, and Oceania in rich countries have been amassed over centuries, and how such works continue to be sourced and traded today, is under close scrutiny and claims for their restitution to the places and people of their origin are voiced loudly. Zurich's Museum Rietberg, one of Europe's most renowned museums of non-European art, has undertaken an extensive research project to explore the history of its own collection. The essays by expert authors in this illustrated publication investigate the pathways along which objects travelled from their origins to the museum. They shed light at the shifts in meaning of these artefacts that have occurred in the course of the transfers. And they demonstrate the importance of provenance research for learning comprehensively about and taking a critical approach in the assessment of the complex biographies of artefacts. Pathways of Art offers an important contribution to the current debate about the status and impact of non-European art in the global North. It aims to foster awareness of colonial and post-colonial contexts of trading and collecting such art works and to help establishing new, more informed and just, and less Eurocentric, museum narratives.

The book contributes to a recontextualization of authenticity by investigating how this value is created, reenacted, and assigned. Over the course of the last century, authenticity figured as the major parameter for the evaluation of cultural heritage. It was adopted in local and international charters and guidelines on architectural conservation in Europe, South and East Asia. Throughout this period, the concept of authenticity was constantly redefined and transformed to suit new cultural contexts and local concerns. This volume presents colonial and postcolonial discourses, opinions, and experiences in the field of architectural heritage conservation and the use of site-specific practices based on representative case studies presented by art historians, architects, anthropologists, and conservationists from Germany, Nepal, India, China, and Japan. With more than 180 illustrations and a collection of terminologies in German, English, Sanskrit, Hindi, Nevari and Nepali, classical Chinese and standard Mandarin, and Japanese, these cross-cultural investigations document the processual re-configuration of the notion of authenticity. They also show that approaches to authenticity can be specified with key analytical categories from transcultural studies: appropriation, transformation, and, in some cases, refusal.

Bringing together an interdisciplinary group of scholars, Post-Politics and Civil Society in Asian Cities examines how the concept of 'post-politics' has manifested across a range of Asian cities, and the impact this has had on state-society relationships in processes of urban governance. This volume examines how the post-political framework-derived from the study of Western liberal democracies-applies to Asian cities. Appreciating that the region has undergone a distinctive trajectory of political development, and is currently governed under democratic or authoritarian regimes, the book articulates how post-political conditions have created obstacles or opportunities for civil society to assert its voice in urban governance. Chapters address the different ways in which Asian civil society groups strive to gain a stake in the development and management of cities, specifically by looking at their involvement in heritage and environmental governance, two inter-related components in discourses about establishing liveable cities for the future. By providing in-depth case studies examining the varying degrees to which post-political ideologies have been enacted in urban governance across Central, South, Southeast, and East Asia, this book offers a useful and timely resource for students and scholars interested in urban studies, political science, Asian studies, geography, and sociology.

Written by three experienced LIS professionals, Latinos in Libraries, Museums, and Archives demonstrates the meaning of cultural competence in the everyday work in libraries, archives, museums, and special collections with Latino populations. The authors focus on their areas of expertise including academic, school, public libraries, health sciences, archives, and special collections to show the importance of understanding how cultural competence effects the day-to-day communication, relationship building, and information provision with Latinos. They acknowledge the role of both tacit and explicit knowledge in their work, and discuss ways in which cultural competence is integral to successful delivery of services to, communication with, and relationship building with Latino communities.

Vast sums of money spent to design, construct, and maintain museum additions demand great accountability of museum leaders and design professionals towards visitors and employees. Museum visitors today come not only to view works of art, but also to experience museum architecture itself, resulting in most major cities competing to build new museum additions or new museum buildings to become world class tourist destinations. Shedding New Light on Art Museum Additions presents post-occupancy evaluations of four high-profile museums and their additions in the United States and helps museum stakeholders understand their successes, shortcomings, and how their designs affect both visitors and employees who use them every day. The book helps decision-makers assess the short-term and long-term impacts of future proposals for new museum additions and illuminates the critical importance of investing in employee work environments, and giving serious consideration to lighting, wayfinding, accessibility, and the effects of museum fatigue that arise from the lack of public amenities. Museum leaders, curators, architects, designers, consultants, patrons of the arts and museum visitors will find this book to be a useful resource when planning and evaluating new building additions.

In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials - often things left on the side of the road, according to the logic and progress of the capitalist machine - and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzken's "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmer's midcareer survey (Musee d'art contemporain, Montreal, 2008), Rachel Harrison's "Consider the Lobster" (CCS Bard Hessel Museum of Art, 2009), and Liz Magor's "The Mouth and Other Storage Facilities" (Henry Art Gallery, Seattle, 2008).

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.

What does the transformation to a visitor-centered approach do for a museum? How are museums made relevant to a broad range of visitors of varying ages, identities, and social classes? Does appealing to a larger audience force museums to "dumb down" their work? What internal changes are required? Based on a multi-year, Kress Foundation-sponsored study of ten innovative American and European collections based museums recognized by their peers to be visitor centered, Peter Samis and Mimi Michaelson answer these key questions for the field. The book: * describes key institutions that have opened the doors to a wider range of visitors; * addresses the internal struggles to reorganize and democratize these institutions; * uses case studies, interviews of key personnel, Key Takeaways, and additional resources to help museum professionals implement a visitor-centered approach in collections-based institutions.

Participatory Archaeology and Heritage Studies: Perspectives from Africa provides new ways to look at and think about the practice of community archaeology and heritage studies across the globe. Long hidden from view, African experiences and experiments with participatory archaeology and heritage studies have poignant lessons to convey about local initiatives, local needs, and local perspectives among communities as diverse as an Islamic community on the edge of an ancient city in Sudan to multi-ethnic rural villages near rock art sites in South Africa. Straddling both heritage studies and archaeological practice, this volume incorporates a range of settings, from practical experiments with sustainable pottery kilns in Kenya, to an elite palace and its hidden traditional heritage in Northwestern Tanzania, to ancestral knowledge about heritage landscapes in rural Ethiopia. The genesis of participatory practices in Africa are traced back to the 1950s, with examples of how this legacy has played out over six decades-setting the scene for a deeply rooted practice now gaining widespread acceptance. The chapters in this book were originally published in the Journal of Community Archaeology and Heritage.

Museums are amazing places doing astonishing things, often with little time and money. How do you create quality museum programming without breaking the bank? This book presents successful programs that have been successfully presented in real museums across the country for under $100. Each program included has been determined to be successful based on: *Program Components, *Budget, *Time Requirements (for both staff and audience), and *Scalability. Program details provided include: *Program highlights and planning strategies, *Categorized programs based on target audience, *Photos of program components and audience participants, and *Program marketing options. Over 50 figures and photographs make this a stellar programming tool your museum will use throughout the year.