A engaging history of the British Science Museum, produced to mark the centenary of its separation from the Victoria & Albert Museum in 1909. Rather than simply a narrative history, it uses the key themes of the Science Museums evolution to explore major issues and tensions common to the development of all science and technology museums.

At a time when organized heritage protection in Asia is developing at a rapid pace, Architectural Conservation in Asia provides the first comprehensive overview of architectural conservation practice from Afghanistan to the Philippines. The country-by-country analysis adopted by the book draws out local insights, experiences, best practice and solutions for effective cultural heritage management that will inform study and practice both in Asia and beyond. Whereas architectural conservation in much of the Western world has been extensively documented, this book brings together coverage of many regions where architectural conservation has been understudied. Following on from the highly influential companion volumes on global architectural conservation and architectural conservation in Europe and the Americas, with this book the authors extend their pioneering global examination to the dynamic and evolving field of architectural conservation in Asia. Throughout the book, the authors and regional experts provide local case studies and profile topics that bring depth and insight to this ambitious study. As architectural conservation becomes increasingly global in practice, this book will be of considerable assistance to architectural conservation practitioners, site managers and students of architecture, planning, archaeology and heritage studies worldwide.

Richard Bradley investigates the idea of circular buildings - whether houses or public architecture - which, though unfamiliar in the modern West, were a feature of many parts of prehistoric Europe. Why did so many people build circular monuments? Why did they choose to live in circular houses, when other communities rejected them? Why was it that those who preferred to inhabit a world of rectangular dwellings often buried their dead in round mounds and worshipped their gods in circular temples? Why did people who lived in roundhouses decorate their pottery and metalwork with rectilinear motifs, and why was it that the inhabitants of longhouses placed so much emphasis on curvilinear designs? Although their distinctive character has engaged the interest of alternative archaeologists, the significance of circular structures has rarely been discussed in a rigorous manner. The Idea of Order uses archaeological evidence, combined with insights from anthropology, to investigate the creation, use, and ultimate demise of circular architecture in prehistoric Europe. Concerned mainly with the prehistoric period from the origins of farming to the early first millennium AD, but extending to the medieval period, the volume considers the role of circular features from Turkey to the Iberian Peninsula and from Sardinia through Central Europe to Sweden. It places emphasis on the Western Mediterranean and the Atlantic coastline, where circular dwellings were particularly important, and discusses the significance of prehistoric enclosures, fortifications, and burial mounds in regions where longhouse structures were dominant.

Presented in an easily digestible format, this go-to desktop reference guide provides explanations and clarifications on a variety of legal issues and concerns facing today's museum professional in over 200 plain-language dictionary entries. Alphabetized and extensively cross-referenced, this text will provide a quick go-to when a general introduction to or refresher of a concept is needed on the go, including: Intellectual property issues, including copyright, trademarks, and fair use Corporate issues, including nonprofit status and tax-exemption Governance issues, including boards of trustees and fiduciary duties The second edition adds over 40 new dictionary entries that address emerging issues in the field such as the 2019 FASB update and direct care of collections, plus new topics such as marital property and business structures. The text is divided into three main sections: In the first, over forty common acronyms and symbols are explained, and over twenty statutes impacted museum work are listed, with common names or acronyms plus citations provided. In the second, over 200 terms are concisely defined and situated specifically in relation to the day-to-day work of the museum professional, each cross-referenced to related definitions. In the third, ten additional topics are developed in depth, allowing the subtleties and complications to be examined and explained in an accessible plain-language manner. Further, the supplemental, in-focus section includes new chapters on museum deaccessioning and disposal, business structures, and worker classification and independent contractors in addition to updated chapters on topics ranging from intellectual property to business formation, tax-exempt status, and worker classification. Written by a past museum director with legal training, this reference book is intended to be kept within arm's reach at a desk and be the first stop for a professional whenever a question arises.

Drawing on primary and secondary materials, this is a sociological interpretation of the rise of metropolitan art institutions and their role in modernism and the modernization of art in England. It explores the complex relationships between the artist as creator, notions of class and taste, and the power of institutions (academies, museums, workshops, exhibitions, art dealers and publishing houses) to enable or constrain creativity, and to reflect and shape artistic expression. In particular, it looks at the experiences of submerged artists (for example, reproductive engravers and the Chantrey artists) and their interpretations of the changing art world. The radicalism of engravers and their claim to be artists is an important and neglected aspect of the 19th-century art world; and the aesthetic dispute over the Chantrey Bequest epitomized conflicts of taste, cultural dependence and interdependence between opposed art institutions and the Treasury.

Enriching the existing scholarship on this important exhibition, Italy at Work: Her Renaissance in Design Today (1950–53), this book shows the dynamic role art, specifically sculpture, played in constructing both Italian and American culture after World War II (WWII). Moving beyond previous studies, this book looks to the archival sources and beyond the history of design for a greater understanding of the stakes of the show. First, the book considers art’s role in this exhibition’s import—prominent mid-century sculptors like Giacomo Manzù, Fausto Melotti, and Lucio Fontana were included. Second, it foregrounds the particular role sculpture was able to play in transcending the boundaries of fine art and craft to showcase innovative formalist aesthetics of modernism without falling in the critiques of modernism playing out on the international stage in terms of state funding for art. Third, the book engages with the larger socio-political use of art as a cultural soft power both within the American and Italian contexts. Fourth, it highlights the important role race and culture of Italians and Italian-Americans played in the installation and success of this exhibition. Lastly, therefore, this study connects an investigation of modernist sculpture, modern design, post-war exhibitions, sociology, and transatlantic politics and economics to highlight the important role sculpture played in post-war Italian and American cultural production. The book will be of interest to scholars working in art history, design history, museum studies, Italian studies, and American studies.

Taking place examines feminist and queer alternative art spaces across Canada and the United States from the late-1960s to the present. It looks at how queer and feminist artists working in the present day engage with, respond to and challenge the institutions they have inherited. Through a series of regional case studies, the book interrogates different understandings of 'alternative' space and the possibilities the term affords for queer and feminist artistic imaginaries. -- .

This is the first book to consider the development of all three cultural heritage institutions - libraries, archives, and museums - and their interactions with society and culture from ancient history to the present day in Western Europe, the United Kingdom, and the United States. The text explores the social and cultural role of these institutions in the societies that created them, as well as the political, economic and social influences on their mission, philosophy, and services and how those changed throughout time. The work provides a thorough background in the topic for graduate students and professionals in the fields of library and information science, archival studies, and museum resource management, preservation, and administration. Arranged chronologically, the story begins with the temple libraries of ancient Sumer, followed the growth and development of governmental and private libraries in ancient Greece and Rome, the influence of Asia and Islam on Western library development, the role of Christianity in the preservation of ancient literature as well as the skills of reading and writing during the Middle Ages, and the coming of the Renaissance and the rise of the university library. It continues by tracing the gradual division between archives and libraries and the growth of governmental and private libraries as independent institutions during and after the Renaissance and through the Enlightenment, and the development of public and private museums from the "cabinets of curiousities" of private collectors beginning in the 17th century. Individual chapters explore the further growth and development of libraries, archives, and museums in the 19th and 20th centuries, exploring the public library and public museum movements of those centuries, as well as the rise of the governmental and institutional archive. The final chapter discusses the growing collaboration between and even convergence of these institutions in the 21st century and the impact of modern information technology, and makes predictions about the future of all three institutions.

Critical Heritage Studies is a new and fast-growing interdisciplinary field of study seeking to explore power relations involved in the production and meaning-making of cultural heritage. Politics of Scale offers a global, multi- and interdisciplinary point of view to the scaled nature of heritage, and provides a theoretical discussion on scale as a social construct and a method in Critical Heritage Studies. The international contributors provide examples and debates from a range of diverse countries, discuss how heritage and scale interact in current processes of heritage meaning-making, and explore heritage-scale relationship as a domain of politics.

There is a call in Heritage Studies to democratize heritage practices and place local communities at the forefront; heritage plays an important role in identity formation, and therefore in social inclusion and exclusion. Public participation is often presented as the primary means to prioritize communities. Studies focusing on public participation are typically descriptive in nature, however these studies lack a strong analytical framework that enables us to understand participation. This series of studies contributes to a better understanding of public participation in the heritage sector by applying Public Administration theory on collaborative governance.

When questions of belonging enter the forefront of political debates, so too does heritage. This volume draws critical voices from archaeology, anthropology and the classics into a conversation about political uses of the past in times of radical right populism. The authors show how ancient monuments and sites, bygone eras and political regimes, even your genetic ancestry, can become wrapped up in polarized political debates. They also highlight how heritage, which is often thought of as a common good, can be dangerous in times of political polarization - erasing nuances between 'us' and 'them'. Together, the texts pave the way for a better understanding of the political role of heritage in society.

Whether you call yourself a Registrar, Curator, Curator of Collections, Collections Manager or any number of other titles you are most likely doing condition reports. A good condition report is an accurate and informative account of an object's state of preservation at a particular moment in time. Condition reports can have multiple functions such as recording the state of an object prior to an exhibition or loan, after exhibition or loan, to assist in collections planning, or as a tool for the treatment of an object. Most of these functions can be conducted by a registrar, curator, collections manager, or volunteer. A good condition report fills many critical needs including: Knowing the exact condition of an object before or after a loan Helping staff determine the stability of an object for exhibit or loan Limiting how often an object is handled Informing object handlers of unseen problems Showing the condition of an object over time to determine the rate of deterioration Setting priorities for conservation Assisting the staff in identifying similar objects Aiding in the valuation of an object for insurance purposes The fifth edition of Basic Condition Reporting: A Handbook proffers a standard vocabulary for all of the individuals in a museum that may be conducting condition reports. In an ideal world, everyone who does a condition report for an item would be trained in the exact same standards, use the same terminology, and use the exact same form, etc. However, the reality is that even if every registrar, collections manager, and curator in your institution does condition reports, each report will be slightly different. Then you throw in every intern, volunteer, or student that may assist and you will find a variety of methods and terminologies that appear. This volume provides a baseline that all of these people can work from so that any person who opens the condition report can understand what the problems on a particular piece include. Basic Condition Reporting, Fifth Edition is a great resource for learning the basics of doing condition reports for museum objects. The book looks at different material types and helps new and seasoned professionals identify condition issues for a variety of materials. This new addition has several new chapters including information on digital condition reporting, wood objects, mixed media objects and taxidermy while expanding the information for existing chapters. This book is a great resource for those new to the museum field and a handy reference to collections professionals.

Object-Based Learning and Well-Being provides the first explicit analysis of the combined learning and well-being benefits of working with material culture and curated collections. Following on from the widely acclaimed Engaging the Senses, this volume explicitly explores the connection between the value of material culture for both learning and well-being. Bringing together experts and practitioners from eight countries on four continents, the book analyses the significance of curated collections for structured cultural interventions that may bring both educational and well-being benefits. Topics covered include the role of material culture in relation to mental health; sensory impairments; and general student and teacher well-being. Contributors also consider how collections can be employed to positively address questions of identity and belonging relating to marginalisation, colonialism and forced displacement. Object-Based Learning and Well-Being should be a key first point of reference for academics and students who are engaged in the study of object-based learning, museums, heritage, health and well-being. The book will be of particular interest to practitioners working in higher education, or those working in the cultural, heritage, museums and health sectors.

Graphic Design in Museum Exhibitions offers an in-depth analysis of the multiple roles that exhibition graphics perform in contemporary museums and exhibitions. Drawing on a study of exhibitions that took place at the Victoria and Albert Museum, London, the Museum of London and the Haus der Geschichte, Bonn, Piehl brings together approaches from museum studies, design practice and narrative theory to examine museum exhibitions as multimodal narratives in which graphics account for one set of narrative resources. The analysis underlines the importance of aspects such as accessibility and at the same time problematises conceptualisations that focus only on the effectiveness of graphics as display device, by drawing attention to the contributions that graphics make towards the content on display and to the ways in which it is experienced in the museum space. Graphic Design in Museum Exhibitions argues for a critical reading of and engagement with exhibition graphic design as part of wider debates around meaning-making in museum studies and exhibition-making practice. As such, the book should be essential reading for academics, researchers and students from the fields of museum and design studies. Practitioners such as exhibition designers, graphic designers, curators and other exhibition makers should also find much to interest them in the book.

This edited collection traces the impact of monographic exhibitions on the discipline of art history from the first examples in the late eighteenth century through the present. Roughly falling into three genres (retrospectives of living artists, retrospectives of recently deceased artists, and monographic exhibitions of Old Masters), specialists examine examples of each genre within their social, cultural, political, and economic contexts. Exhbitions covered include Nathaniel Hone's 1775 exhibition, the Holbein Exhibition of 1871, the Courbet retrospective of 1882, Titian's exhibition in Venice, Poussin's Louvre retrospective of 1960, and El Greco's anniversaty exhibitions of 2014.

Marketing and Social Media: A Guide for Libraries, Archives, and Museums, Second Edition is a much-needed guide to marketing for libraries, archives, and museum professionals in the social media age. This book serves as both an introductory textbook and as a guide for working professionals interested in developing well-planned evidence-based marketing campaigns. Chapters cover coordinating efforts with the organization's mission, goals, and objectives, how to do a SWOT analysis and environmental scanning, the use of existing data as well as issues in collecting additional data, how to identify and involve stakeholders, a 4-step marketing model, considerations of price, placement, product, and promotion, market research, understanding customer groups and market segmentation, marketing mix strategy and evaluation, promotional activities, channel selection, social media marketing activities, content marketing, social media policies, guidelines, crisis communication, and evidence-based assessment. Discussion of social media and examples of social media marketing activities are included throughout the book, as well as case study examples of marketing and social media campaigns in libraries, archives and museums. This second edition further includes a new final chapter offering step-by-step guidance for brand-new social media managers on how to get started from their first day on the job with social media marketing, management, assessment, strategic planning, and content calendar planning activities, in addition to working with colleagues and managers to integrate social media into work activities across the organization. For educators, this text includes elements which can be developed into classroom or workshop assignments which include pull quotes highlighting important concepts in each chapter, key terms, discussion questions, illustrative case study examples from archives, libraries and museums, and an annotated bibliography for further reading.

This breakthrough handbook for botanical garden and arboretum curators (and curators in training) has now been expanded and updated fifteen years after the last edition was published. The new edition includes up-to-date information and methods for the preservation and conservation of plants and their use in both ex-situ and in-situ conservation programs, habitat restorations, and conservation research. There are expanded and updated sections on plant acquisitions and field collecting that conform to the Convention on Biological Diversity protocols. New technologies for documenting plant collections are described including reviews of the most common software programs to streamline this process. Recommendations for plant preservation-caring for collections-have been updated with expanded information on basic horticulture practice, sustainable techniques, special applications for conservation collections, and examples of preservation plans. There is an entirely new section on collections research and applications with several chapters on the latest conservation practices, technologies, and programs involving collections. All of the basic and essential information for collections management contained within the first edition, including specific recommendations and examples, has been expanded and updated with recommendations on new technologies and procedures to assist and guide curators in their critical role as plant collection developers, managers, and programmers. What is an important resource for public garden professionals and students has now become even more essential.

Twenty-first-century views of historical violence have been immeasurably influenced by cultural representations of the Second World War. Within Europe, one of the key sites for such representation has been the vast array of museums and memorials that reflect contemporary ideas of war, the roles of soldiers and civilians, and the self-perception of those who remember. This volume takes a historical perspective on museums covering the Second World War and explores how these institutions came to define political contexts and cultures of public memory in Germany, across Europe, and throughout the world.

For most academic libraries, archives and museums, digital content management is increasingly occurring on a holistic enterprise level. As most institutions contemplate an enterprise digital content strategy for a growing number of digitized surrogates and born-digital assets, libraries, archives, and museums understand that these expanding needs can only be met by more flexible approaches offered by a multicomponent digital asset management ecosystem (DAME). Increasingly, librarians, archivists, and curators are managing an integrated digital ecosystem by coordinating and complementing a number of existing and emerging initiatives. This guide provides a high-level overview and offers a conceptual framework for understanding a digital asset management ecosystem with discussions on digital collection typologies and assessment, planning and prioritization, the importance of a community of practice through associated workflows, and an understanding of the critical role that foresight planning plays in balancing an evolving infrastructure and expanding digital content with creative cost modeling and sustainability strategies. Borrowing from the principles of data curation, integrative collection building requires an understanding of the library's "digital ecosystem" of licensed content, digitized material, and born-digital content in order to ensure strategic growth of institutional collections in the context of long-term holistic collection management plans. Key elements discussed in this book include: -the importance of digital collection assessment, analysis, and prioritization, -the realignment of accession and appraisal methodologies for efficient digital content acquisition, -the need to think holistically relating to tool selection and infrastructure development to ensure interoperability, scalability, and sustainability of a universe of digital assets, -the creation of cross-functional workflows in accordance with policies and plans, -the importance of advocating for growing resources needed for managing, descriptive, administrative, technical, rights and preservation metadata across the institution, and -the significance of distributed digital preservation models with a growing array of associated options for cloud storage.

Understanding Authenticity in Chinese Cultural Heritage explores the construction of "authenticity" and its consequences in relation to Chinese cultural heritage - those objects, texts, and intangible practices concerned with China's past. Including contributions from scholars around the world reflecting on a range of different materials and time periods, Understanding Authenticity emphasizes the situatedness and fluidity of authenticity concepts. Attitudes towards authenticity change over time and place, and vary between communities and object types, among stakeholders in China as they do elsewhere. The book examines how "authenticity" relates to four major aspects of cultural heritage in China - Art and Material Culture; Cultural Heritage Management and Preservation; Living and Intangible Heritage; and Texts and Manuscripts - with individual contributions engaging in a critical and interdisciplinary conversation that weaves together heritage management, art history, archaeology, architecture, tourism, law, history, and literature. Moving beyond conceptual issues, the book also considers the practical ramifications for work in cultural heritage management, museums, and academic research. Understanding Authenticity in Chinese Cultural Heritage provides an opportunity for reflection on the contingencies of authenticity debates - not only in relation to China, but also anywhere around the world. The book will be of interest to scholars and students in a variety of fields, including heritage studies, Asian studies, art history, museum studies, history and archaeology.

In recent years, popular music museums have been established in high profile locations in many of the presumed "musical capitals" of the world, such as Los Angeles, Liverpool, Seattle, Memphis, and Nashville. Most of these are defined by expansive experiential infrastructures centered around spectacular, high-tech displays of varying sizes and types. Through over-the-top acts of display, these museums influence and reflect the values and priorities in the public life of popular music. This book examines the phenomenon of the popular music museum outside the typical and familiar frames of heritage and tourism. Instead, it looks at these institutions as markers of the broader entertainment industry in the era of its rise to global dominance. It highlights the multiple manifestations of power as read across a range of institutions and material forms and discusses how this contributes to shaping the experience of popular culture.

Theorizing Archaeological Museum Studies is an attempt to reconnect archaeological practice, the theoretical richness of archaeology, and museum studies. The book therefore embraces both the practical aspects of archaeology and empirical studies in museums in order to rethink what happens when an artefact changes into an exhibit. This study is positioned at the intersection of both history and archaeological theory, and of the history of art and museum studies. The central focus of this book explores the relationship between museums and their dominant paradigms, on the one hand, and new approaches and theories in archaeology, on the other. It thus also illustrates the co-dependencies, relations and tensions that characterize the relationship between academia and museums. This book demonstrates how in becoming an exhibit, artefacts have - and continue to - become reflections of the discipline's prevailing paradigms while manifesting the dominant aims and methods of knowledge production pertaining at a given time and place, as well as the desired social interpretations and modes of presenting the past. Theorizing Archaeological Museum Studies will be important reading for academics and students (archaeology, heritage studies, museums studies) as well as practitioners (museum employees, heritage practitioners). The book is also intended for scholars from across the humanities interested in museum studies, heritage studies, curatorial studies, cultural studies, cultural geography, material culture, history of archaeology, archaeological theory, and the anthropology of things.

Digital Approaches to Inclusion and Participation in Cultural Heritage brings together best examples and practices of digital and interactive approaches and platforms from a number of projects based in European countries to foster social inclusion and participation in heritage and culture. It engages with ongoing debates on the role of culture and heritage in contemporary society relating to inclusion and exclusion, openness, access, and bottom-up participation. The contributions address key themes such as the engagement of marginalised communities, the opening of debates and new interpretations around socially and historically contested heritages, and the way in which digital technologies may foster more inclusive cultural heritage practices. They will also showcase examples of work that can inspire reflection, further research, and also practice for readers such as practice-focused researchers in both HCI and design. Indeed, as well as consolidating the achievements of researchers, the contributions also represent concrete approaches to digital heritage innovation for social inclusion purposes. The book's primary audience is academics, researchers, and students in the fields of cultural heritage, digital heritage, human-computer interaction, digital humanities, and digital media, as well as practitioners in the cultural sector.

The 'bog bodies' of north-western Europe have captured the imaginations of poets and archaeologists alike, allowing us to come face-to-face with individuals from the past. Their exceptional preservation permits us to examine minute details of their lives and deaths, making us reflect poignantly on our own mortality. But, as this book argues, the bodies must be resituated within a turbulent world of endemic violence and change. Reinterpreting the latest continental research and new discoveries, and featuring a ground-breaking 'cold case' forensic study of Worsley Man, Manchester Museum's 'bog head', it brings the bogs to life through both natural history and folklore, revealing them as places that were rich and fertile yet dangerous. The book also argues that these remains do not just pose practical conservation problems but also philosophical dilemmas, compounded by the critical debate on if - and how - they should be displayed. -- .

What does 'Art' Mean Now? asks, and answers, fundamental questions about the nature of aesthetic experience and role of the arts in contemporary society. The Modern Age, Romanticism and beyond. viewed art as something transcending and separated from life, and usually something encountered in museums or classrooms. Nowadays, however, art tends to be defined not by a commonly agreed-upon standard of 'quality' or by its forms, such as painting and sculpture, but instead by political and ideological criteria. So how do we connect with the works in museums whose point was precisely they stood apart from such considerations? Can we and should we be educated to "appreciate" art-and what does it do for us anyway? What are we to make of the so-different newer works-installations, performances, excerpts from the world-held to be art that increasingly make it into museums? Adopting a subjectivist approach, this book argues that in the absence of a universal judgement or standard of taste, the experience of art is one of freedom. The arts and literature give us the means to conceptualize our lives, showing us ourselves as we are and as we might wish-or not wish-to be, as well as where we have been and where we are going. It will appeal to scholars of sociology, philosophy, museum studies, and art history, and to anyone interested in, or puzzled by, museums or college courses and their presentation of art today.