Author Biography:
Richard Sandell is Lecturer in Museum Studies at the University of Leicester and Research Associate of RCMG (Research Centre for Museums and Galleries)

First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium.
John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich

Curating Dramaturgies investigates the transformation of art and performance and its impact on dramaturgy and curatorship. Addressing contexts and processes of the performing arts as interconnecting with visual arts, this book features interviews with leading curators, dramaturgs and programmers who are at the forefront of working in, with, and negotiating the daily practice of interdisciplinary live arts. The book offers a view of praxis that combines perspectives on theory and practice and looks at the way that various arts institutions, practitioners and cultural agents have been working to change the way that art and performance have developed and experienced by spectators in the last decade. Curating Dramaturgies argues that cultural producers and scholars are becoming more cognizant of this overlapping and transforming field. The introductory essay by the editors explores the rise of interdisciplinary live arts and its ramifications in cultural and political terms. This is further elaborated in the interviews with 15 diversely placed arts professionals who are at the forefront of rethinking and consolidatingthe ever-evolving field of the visual arts and performance.

Museums everywhere have the potential to serve as agents of change-bringing people together, contributing to local communities, and changing people's lives. So how can we, as individuals, radically expand the work of museums to live up to this potential? How can we more fiercely recognize the meaningful work that museums are doing to enact change around the relevant issues in our communities? How can we work together to build a stronger culture of equity and care within museums ? Questions like these are increasingly vital for all museum professionals to consider, no matter what your role is within your institution. They are also important questions for all of us to be thinking about more deeply as citizens and community members. This book is about the work we need to do to become changemakers and demand that that our museums take action toward positive social change and bring people together into a more just, equitable, compassionate, and connected society. It is a journey toward tapping the energies within all of us to make change happen and proactively shape a new future.

The book utilises the Five Ways to Well-being as a model: Connect, Be Active, Keep Learning, Give, Take Notice. Each of these Ways are explored through a specific museum object illustrating the important role collections can play in museum well-being. The book considers how museum well-being, and the austerity project became entwined, and how the COVID-19 pandemic supercharged growth in this field. The book explores such diverse topics as walking, slow art, social capital, Virginia Woolf, body positivity, collective joy, identity, art therapy, yoga, Squid Game, Effective Altruism, mindfulness, gift exchange, the Preston model, the limits of data, sketching, photography, inclusive spaces, and workplace well-being. The book signposts a vast array of existing information, and offers a critical engagement with current practices. Museums and Well-being is aimed initially to students of museum studies programmes, it is also an ideal book for a museum staff who needs to add a well-being component to their existing programming; or to reconsider existing programming from the perspective of well-being.

The Future of Digital Data, Heritage and Curation critiques digital cultural heritage concepts and their application to data, developing new theories, curatorial practices and a more-than-human museology for a contemporary and future world. Presenting a diverse range of case examples from around the globe, Cameron offers a critical and philosophical reflection on the ways in which digital cultural heritage is currently framed as societal data worth passing on to future generations in two distinct forms: digitally born and digitizations. Demonstrating that most perceptions of digital cultural heritage are distinctly western in nature, the book also examines the complicity of such heritage in climate change, and environmental destruction and injustice. Going further still, the book theorizes the future of digital data, heritage, curation and the notion of the human in the context of the profusion of new types of societal data and production processes driven by the intensification of data economies and through the emergence of new technologies. In so doing, the book makes a case for the development of new types of heritage that comprise AI, automated systems, biological entities, infrastructures, minerals and chemicals - all of which have their own forms of agency, intelligence and cognition. The Future of Digital Data, Heritage and Curation is essential reading for academics and students engaged in the study of museums, archives, libraries, galleries, archaeology, cultural heritage management, information management, curatorial studies and digital humanities.

During the nineteenth century, a change developed in the way architectural objects from the distant past were viewed by contemporaries. Such edifices, be they churches, castles, chapels or various other buildings, were not only admired for their aesthetic values, but also for the role they played in ancient times, and their role as reminders of important events from the national past. Architectural heritage often was (and still is) an important element of nation building. Authors address the process of building national myths around certain architectural objects. National narratives are questioned, as is the position architectural heritage played in the nineteenth and the early twentieth centuries.

'The Organic Chemistry of Museum Objects' makes available in a single volume, a survey of the chemical composition, properties and analysis of the whole range of organic materials incorporated into objects and artworks found in museum collections. The authors cover the fundamental chemistry of the bulk materials such as wood, paper, natural fibres and skin products, as well as that of the relatively minor components incorporated as paint, media, varnishes, adhesives and dyes. This expanded second edition, now in paperback, follows the structure of the first, though it has been extensively updated. In addition to chapters on basic organic chemistry, analytical methods, analytical findings and fundamental aspects of deterioration, the subject matter is grouped as far as possible by broad chemical class - oils and fats, waxes, bitumens, carbohydrates, proteins, natural resins, dyestuffs and synthetic polymers. This is an essential purchase for all practising and student conservators, restorers, museum scientists, curators and organic chemists.

The Preparator's Handbook: A Practical Guide for Preparing and Installing Collection Objects is an invaluable resource for emerging museum professionals or anyone working in galleries and collections with little-to-no previous preparatory experience or training. This handbook explores, explains, and illustrates the basics for the preparation and installation professionals. - practical, step-by-step guides that outline museum-standard procedures for most types of collection objects, including works on paper, archival volumes, and historic artifacts. - templates and guides for presentation, preservation, and collection storage - illustrated inventories of standard and specialized tools, materials and hardware - the basics of lighting, audio, and video in installations. - unique case-studies from working professionals for a wide-range of objects and installations including examples from the Field Museum, the Corning Museum of Glass, and the Folger Shakespeare Library. - Over 50 illustrations and photographs that accompany the written text. This practical book is the first of its kind: a guide for novice or amateur collection and gallery professionals as well as an academic textbook for museum studies and fine art students.

The controversy surrounding the significant "Into the Heart of Africa" exhibit at the Royal Ontario Museum in Canada is explored in this compelling and analytical text. The exhibit has become an international, controversial touchstone for issues surrounding the politics of visual representation, such as the challenges to curatorial and ethnographic authority in multicultural and postcolonial contexts. Asking why the museum's exhibit failed so many people, the author examines such issues as institutional politics, the broad political and intellectual climate surrounding museums, the legacies of colonialism and traditions of representation of Africa, and the politics of irony.
By drawing upon anthropological and cultural criticism, the book offers a unique account of the ways in which an ambiguous exhibit about colonialism became the site of an expansiveInto the Heart of Africa."

Full Contributors:
Richard D. Altick, Arjun Appadurai, Tony Bennett, Carol A. Breckenridge, James Clifford, Philip Dodd, Carol Duncan, David Goodman, Stuart Hall, Robert Hewison, Eric Hobsbawn, Kenneth Hudson, Sharon Macdonald, Colin Mercer, Kevin Robins, Chris Rojek, Robert W. Rydell, Raphael Samuel, Roger Silverstone, Anthony D. Smith, John Urry, Patrick Wright

In this updated and revised second edition, Eilean Hooper-Greenhill incorporates 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. Contents include:
* new communication models for the museum
* problems in visitor orientation and circulation
* increased exhibit accessibility through multisensory interaction
* education: at the heart of museums.

A comprehensive bibliography and exhibition chronology of the world's greatest museum of the decorative arts and design. The Victoria and Albert Museum, or South Kensington Museum as it used to be known, was founded by the British Government in 1852, out of the proceeds from the Great Exhibition of 1851. Like the Exhibition, it aimed to improve the expertise of designers, and the taste of the public, by exposing them to examples of good design from all countries and periods.
2,500 publications have to date been produced by, for, or in association with the V&A. The National Art Library, which is part of the Museum, has prepared this detailed catalogue, supplemented by a secondary list of 500 other books closely related to the V&A. The 1,500 exhibitions and displays recorded include those held in the main Museum and at its branches, the Bethnal Green Museum (now the National Museum of Childhood) and the Theatre Museum, Covent Garden, and additionally those it has organized at external venues, in Great Britain and abroad. The exhibitions and publications are fully cross-referenced, and there are name, title and subject indexes to the whole work, as well as an explanatory introduction.

Suzanne Keene's pioneering book shows how museums and other cultural organizations fit into the new world of information and electronic communications and, most importantly, how they can take advantage of what it has to offer.

By using new technology museums can build knowledge bases around information about collections. A collection object can be the central link for information about past and present, places, people and concepts, technologies, ways of working and evidence of the natural world. 'Digital Collections' explains how this vision can be realized. Sound, video and animations can be digitized and developed as a central resource that can be drawn on for many varied access routes: via the World Wide Web; CD ROMs; through on-gallery screens, and other future products still in development.
These technological capabilities raise many compelling issues that need to be understood in order to successfully develop information collections. In this book Suzanne Keene reviews these issues clearly and comprehensively. Her accompanying Click-Through Guide provides the latest news and links to Internet information:
http: //www.users.dircon.co.uk/~s-keene/infoage/infoage.htm
Suzanne Keene is a senior manager of museum collections and information at the Science Museum, London. She led the UK LASSI project to select a collections information system for UK museums. This, with her experience in directing information technology and multimedia projects, means that she is accustomed to translating the highly technical concepts of information technology into high level issues for senior and strategic management.
* Explains the Information Age/Information Economy and thestrategic implications for museums
* Describes the effects of increasing use of IT in museums and its future developments

Evaluating Early Learning in Museums presents developmentally appropriate and culturally relevant practices for engaging early learners and their families in informal arts settings. Written by early childhood education researchers and a museum practitioner, the book showcases what high-quality educational programs can offer young children and their families through the case study of a program at the High Museum of Art in Atlanta, Georgia. Providing strategies for building strong community partnerships and audience relationships, the authors also survey evaluation tools for early learning programs and offer strategies to help museums around the world to engage young children. At the center of this narrative is the seminal partnership that developed between researchers and museum educators during the evaluation of a program for toddlers. Illuminating key components of the partnership and the resulting evolution of family offerings at the museum, the book also draws parallels to current work being done at other museums in international contexts. Evaluating Early Learning in Museums illustrates how an interdisciplinary collaboration between researchers and practitioners can improve museum practices. As such, the book will be of interest to researchers and students engaged in the study of museums and early childhood, as well as to practitioners working in museums around the world.

Cultural heritage law and its response to human rights principles and practice has gained renewed prominence on the international agenda. The recent conflicts in Syria and Mali, China's use of shipwreck sites and underwater cultural heritage to make territorial claims, and the cultural identities of nations post-conflict highlight this field as an emerging global focus. In addition, it has become a forum for the configuration and contestation of cultural heritage, rights and the broader politics of international law. The manifestation of tensions between heritage and human rights are explored in this volume, in particular in relation to heritage and rights in collaboration and in conflict, and heritage as a tool for rights advocacy. This volume also explores these issues from a distinctively legal standpoint, considering the extent to which the legal tools of international human rights law facilitate or hinder heritage protection. Covering a range of issues across Africa, Asia, Europe, Latin America and Australia, this volume will be of interest to people working in human rights, heritage studies, cultural heritage management and identity politics around the world. 'This book fills an important gap in the literature on heritage and rights and, in particular, human rights law. With articles from leading experts addressing the legal human rights dimensions of cultural heritage protection, it makes a significant contribution to debates over issues such as 'Why should we safeguard heritage and for whom?' and 'What is the relationship between heritage safeguarding and protecting human rights?'. These are deep questions of profound significance to individuals, communities and even nations around the world and are of increasing urgency today. It critically analyses the relationship between heritage and human rights that can be potentially pernicious as well as mutually reinforcing, placing this analysis within the wider context and with a broad geographical scope with examinations of the heritage/rights relationship in Southeast Asia (Cambodia), China and sub-Saharan Africa.' Dr Janet Blake, Associate Professor in Law, Shahid Beheshti University, Tehran 'Traversing the destruction of mausoleums in Timbuktu to war crimes trial by the International Criminal Court, Heritage, Culture and Rights explores the crucial links between human rights and the protection of cultural heritage. The essays are accessible to all viewing the destruction of cultural heritage as a breach of human dignity and identity. Unputdownable.' Professor Gillian Triggs, President of the Australian Human Rights Commission 'This collection of essays by leading scholars, though primarily Australian in origin, is universal in orientation. Ranging from a broad survey of the applicable laws of armed conflict to a detailed consideration of urban design in Southeast Asia, the essays offer significant insights into the relationship between the protection and use of cultural heritage, on one hand, and fundamental human rights, on the other. Ultimately, the mutual reinforcement of the two disciplines of law prevails over carefully-acknowledged tensions between them. Readers at all levels of expertise will find the book of great interest.' Professor James Nafziger,Thomas B Stoel Professor of Law and Director of International Programs at the Willamette University College of Law

Part of a series that offers mainly linguistic and anthropological research and teaching/learning material on a region of great cultural and strategic interest and importance in the post-Soviet era.

A nostalgic interest in the past is a well-recognized feature of fast-changing, contemporary societies. It finds its expression in a variety of history-making practices of which the establishment of local heritage museums is a major manifestation in many parts of the world today. Katriel develops a communication-centered perspective on the study of heritage museums and -- by extension -- other tourist sites, highlighting the role of discourse in these institutionalized, yet vernacular contexts of cultural production, social legitimation, and identity formation.
Descriptive and critical in orientation, this book combines a close analysis of museum discourse with an exploration of such larger issues as:
* the socio-cultural role of museums as arenas for the production of collective memory,
* the ideological and performative constraints that shape museum presentations,
* the interfacing of verbal and visual codes of communication in the context of material displays,
* the dialectical interplay of the local and the global in contemporary life, and
* the interpenetration of the personal and the communal in vernacular processes of narrative production.
Of interest to scholars in communication, linguistics, anthropology, history, museum studies, tourism, intercultural communication, middle eastern studies, or those with interests in narratives, material culture, and ethnography.

A nostalgic interest in the past is a well-recognized feature of fast-changing, contemporary societies. It finds its expression in a variety of history-making practices of which the establishment of local heritage museums is a major manifestation in many parts of the world today. Katriel develops a communication-centered perspective on the study of heritage museums and -- by extension -- other tourist sites, highlighting the role of discourse in these institutionalized, yet vernacular contexts of cultural production, social legitimation, and identity formation.
Descriptive and critical in orientation, this book combines a close analysis of museum discourse with an exploration of such larger issues as:
* the socio-cultural role of museums as arenas for the production of collective memory,
* the ideological and performative constraints that shape museum presentations,
* the interfacing of verbal and visual codes of communication in the context of material displays,
* the dialectical interplay of the local and the global in contemporary life, and
* the interpenetration of the personal and the communal in vernacular processes of narrative production.
Of interest to scholars in communication, linguistics, anthropology, history, museum studies, tourism, intercultural communication, middle eastern studies, or those with interests in narratives, material culture, and ethnography.

This book introduces important reflections on understanding the meaning of cultural-religious heritage in an international context and their relationship with issues of sustainability at the local community level. Through a holistic approach, the book charts new courses in analyzing different cultural policies and methods for preserving and enhancing cultural heritage. Stemming from an intercultural seminar promoted by the International Scientific Committee Places of Religion and Ritual (ICOMOS PRERICO) under the theme of "Reuse and regenerations of cultural-religious heritage in the world: Comparison among cultures," the book examines the scientific diplomacy and cultural strategies promoted by countries in dialogue with the UN 2030 Agenda, as well as Agenda 21 for Culture. The book seeks to reinforce the value of local cultural policies for supporting and enhancing cultural-religious heritage through specific programs and collaborations in dialogue with government policies. This collection is relevant to scholars working in areas relating to cultural heritage, religious heritage, architectural restoration, protection of the local inheritances, law, and management of the cultural sites.

Compiled with the assistance of the Museums Association, this important directory incorporates over 2,100 museums - almost double the number of inclusions in the 1st edition. It covers all types, including collections of artefacts. The index contains over 3,000 subjects. It is designed particularly to uncover those holdings that are more unusual and less well-known. The directory covers all subjects except living organisms. An indispensable reference source for the library and an ideal companion for researcher or enthusiast alike.

Museums and collecting is now a major area of cultural studies. This selected group of key texts opens the investigation and appreciation of museum history. Edward Edwards, chief pioneer of municipal public libraries, chronicles the founders and early donors to the British Museum. Greenwood and Murray provide informative pictures of the early history of the museum movement. Sir William Flower, Director of the British Museum (Natural History), takes a pioneering philosophical approach to the sphere of natural history with relation to museums. Similarly, Acland and Ruskin discuss and explore the relationships of art and architecture to museums.

Exhibitions have become "the" medium through which most art becomes known and assessed. But the art exhibition is an increasingly critical and unstable category. Constantly reshaped by artists and curators, the exhibition has become both a prominent and diverse part of contemporary culture. "Thinking About Exhibitions" presents a multi-disciplinary anthology of writings on exhibition practice by curators, critics, artists, sociologists and historians from North America, Europe and Australia. Texts in the collection are grouped in sections which focus on the history of the exhibition, forms of staging and spectacle, and questions of curatorship, spectatorship and narrative. As well as critical essays, the anthology includes exhibition proposals, dialogues, position papers, case studies, polemic articles and interviews.

Collecting and Conserving Net Art explores the qualities and characteristics of net art and its influence on conservation practices. By addressing and answering some of the challenges facing net art and providing an exploration of its intersection with conservation, the book casts a new light on net art, conservation, curating and museum studies. Viewing net art as a process rather than as a fixed object, the book considers how this is influenced by and executed through other systems and users. Arguing that these processes and networks are imbued with ambiguity, the book suggests that this is strategically used to create suspense, obfuscate existing systems and disrupt power structures. The rapid obsolescence of hard and software, the existence of many net artworks within restricted platforms and the fact that artworks often act as assemblages that change or mutate, make net art a challenging case for conservation. Taking the performative and interpretive roles conservators play into account, the book demonstrates how practitioners can make more informed decisions when responding to, critically analysing or working with net art, particularly software-based processes. Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software.