Museum learning is a vital component of the lifelong-learning process. In this new edition of The Manual of Museum Learning, leading museum education professionals offer practical advice for creating successful learning experiences in museums and related institutions (such as galleries, zoos, and botanic gardens) that can attract and intrigue diverse audiences. The original Manual of Museum Learning was published in 2007. The editors have totally rethought this new edition. This second edition focuses on the ways museum staffs (and the departments for which they work) can facilitate the experience in a way that capitalizes on their individual institutional strengths. The goal of this new edition is to provide museums with guidance in developing a strategic approach to their learning programs. There is a close connection between institution-wide strategic planning - where an institution decides what course and direction it will take for a five to seven-year period - and its approach to museum learning. One size does not fit all, and what each museum is (or aspires to be) will affect its individual approach. Thus there are many routes for museums to take, many alternative ways for them to play this role. No one museum can be all things to all prospective learners; they will be better suited to some approaches than to others. This new edition identifies these approaches and enables museums to find the paths for which they are individually best suited, to help them identify their own unique approaches to facilitating museum learning. Each one's mission and vision, its relationships with institutional and public stakeholders, local cultural and market factors, its individual collection and programmatic strengths, its financial position - all of these things matter. This second edition aims to help each museum find the right approach to learning for its unique situation by showing them the range of museum "personalities" in terms of their being learning institutions, what constitutes each type, and what the implications are of choosing one or another approach for a particular museum. A major theme of the 2nd edition of The Manual of Museum Learning is museum as connector; the ways in which museums are facilitating self-directed learning by connecting people with resources. Not all will connect audiences with learning vehicles in the same way. If museum learning is affective learning, then it is the role of the museum to connect its visitors, program participants and others who benefit from its knowledge to the learning resources that best suit the institution's strengths and matches them to the learning needs of the museum's audiences. By connecting users to the resources they are most interested in, or which best suit each individual's particular learning styles, museums are at their best when they empower individuals to design their own learning experience in ways that resonate best with each individual.

Examining the artistic, intellectual, and social life of performance, this book interrogates Theatre and Performance Studies through the lens of display and modern visual art. Moving beyond the exhibition of immaterial art and its documents, as well as re-enactment in gallery contexts, Guy's book articulates an emerging field of arts practice distinct from but related to increasing curatorial provision for 'live' performance. Drawing on a recent proliferation of object-centric events of display that interconnect with theatre, the book approaches artworks in terms of their curation together and re-theorizes the exhibition as a dynamic context in which established traditions of display and performance interact. By examining the current traffic of ideas and aesthetics moving between theatricality and curatorial practice, the study reveals how the reception of a specific form is often mediated via the ontological expectations of another. It asks how contemporary visual arts and exhibition practices display performance and what it means to generalize the 'theatrical' as the optic or directive of a curatorial concept. Proposing a symbiotic relation between theatricality and display, Guy presents cases from international arts institutions which are both displayed and performed, including the Tate Modern and the Guggenheim, and assesses their significance to the enduring relation between theatre and the visual arts. The book progresses from the conventional alignment of theatricality and ephemerality within performance research and teases out a new temporality for performance with which contemporary exhibitions implicitly experiment, thereby identifying supplementary modes of performance which other discourses exclude. This important study joins the fields of Theatre and Performance Studies with exciting new directions in curation, aesthetics, sociology of the arts, visual arts, the creative industries, the digital humanities, cultural heritage, and reception and audience theories.

Essential reading for all professionals concerned with museums and the cultural heritage, with the architecture and design of museums and for those providing service for the disabled. The volume provides access to some of the best practice in the provision for the disabled, and sets out an agenda for future action in museums worldwide.

This engaging volume reveals how politics permeates all facets of museum practice, particularly in regions of political conflict. In these settings, museums can be extraordinarily influential for shaping identity and collective memory and for peace building. Using key Cypriote archaeological, historical, ethnographic, and art museums as examples, this book: provides a multifaceted and deeper understanding of how politics, conflict, national agendas, and individual initiatives can shape museums and their narratives; discusses how these forces contribute to the creation of, and conflict over, national, community and personal identities; examines how museums use inclusion and exclusion in their collections, exhibitions, objects and interpretive material as a way of selectively constructing collective memories. This book will be an important resource for museum professionals, as well as scholars interested in the effects of politics on museums and interpretations of the past.

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.

Both a significant contribution to visitor research and a nuts-and-bolts guide to exhibit development, Fostering Active Prolonged Engagement includes 15 APE Tales (exhibit recipes with photos, drawings, and detailed construction specifications); discussions of setting explicit goals for visitors' exhibit experiences; research and evaluation methods and results; and lessons learned for building constructivist-style exhibits.

Modernity and the Museum in the Arabian Peninsula is dedicated to the recent and rapid high-profile development of museums in the Arabian Peninsula, focusing on the a number of the Arabian Peninsula states: Bahrain, Kuwait, Oman, Qatar and theUAE. These Gulf states are dynamically involved in the establishment of museums to preserve and , represent their distinct national culture and heritage, as well as engaging in the regional and global art worlds through the construction of state-of-the-art art museums. Alongside such developments is a rich world of collection and displaying material culture in homes and private museums that is little known to the outside world. Museum Studies literature has struggled to keep pace with such developments and Modernity and the Museum in the Arabian Peninsula is the first book to coherently present: a contemporary overview of the ever-evolving landscape of museums and related heritage projects in the Arabian Peninsula a critical evaluation of the nature of these museum projects within the political and cultural conditions in the Arabian Peninsula suggestions for productive ways forward for museum developments in the Arabian Peninsula Museums Studies students and museum professionals now have a book that fills an important gap in the picture of the museum worldwide. Contextualising this study in the history and politics of the region, from a scholar working within the region, this in-depth overview and critical analysis of museums in the Arabian Peninsula stands alone as an entry into this important topic.

The 1980s and early 1990s have seen a marked increase in public interest in our historic environment. The museum and heritage industry has expanded as the past is exploited for commercial profit. In The Representation of the Past, Kevin Walsh examines this international trend and questions the packaging of history which serves only to distance people from their own heritage. A superficial, unquestioning portrayal of the past, he feels, separates us from an understanding of our cultural and political present. Here, Walsh suggests a number of ways in which the museum can fulfill its potential - by facilitating our comprehension of cultural identity.

Modernity and the Museum in the Arabian Peninsula is dedicated to the recent and rapid high-profile development of museums in the Arabian Peninsula, focusing on the a number of the Arabian Peninsula states: Bahrain, Kuwait, Oman, Qatar and theUAE. These Gulf states are dynamically involved in the establishment of museums to preserve and , represent their distinct national culture and heritage, as well as engaging in the regional and global art worlds through the construction of state-of-the-art art museums. Alongside such developments is a rich world of collection and displaying material culture in homes and private museums that is little known to the outside world. Museum Studies literature has struggled to keep pace with such developments and Modernity and the Museum in the Arabian Peninsula is the first book to coherently present: a contemporary overview of the ever-evolving landscape of museums and related heritage projects in the Arabian Peninsula a critical evaluation of the nature of these museum projects within the political and cultural conditions in the Arabian Peninsula suggestions for productive ways forward for museum developments in the Arabian Peninsula Museums Studies students and museum professionals now have a book that fills an important gap in the picture of the museum worldwide. Contextualising this study in the history and politics of the region, from a scholar working within the region, this in-depth overview and critical analysis of museums in the Arabian Peninsula stands alone as an entry into this important topic.

Are national galleries different from other kinds of art gallery or museum? What value is there for the nation in a collection of international masterpieces? How are national galleries involved in the construction national art? National Galleries is the first book to undertake a panoramic view of a type of national institution - which are sometimes called national museums of fine art - that is now found in almost every nation on earth. Adopting a richly illustrated, globally inclusive, comparative view, Simon Knell argues that national galleries should not be understood as 'great galleries' but as peculiar sites where art is made to perform in acts of nation building. A book that fundamentally rewrites the history of these institutions and encourages the reader to dispense with elitist views of their worth, Knell reveals an unseen geography and a rich complexity of performance. He considers the ways the national galleries entangle art and nation, and the differing trajectories and purposes of international and national art. Exploring galleries, artists and artworks from around the world, National Galleries is an argument about how we think about and study these institutions. Privileging the situatedness of each national gallery performance, and valuing localism over universalism, Knell looks particularly at how national art is constructed and represented. He ends with examples that show the mutability of national art and by questioning the necessity of art nationalism.

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.

Are national galleries different from other kinds of art gallery or museum? What value is there for the nation in a collection of international masterpieces? How are national galleries involved in the construction national art? National Galleries is the first book to undertake a panoramic view of a type of national institution - which are sometimes called national museums of fine art - that is now found in almost every nation on earth. Adopting a richly illustrated, globally inclusive, comparative view, Simon Knell argues that national galleries should not be understood as 'great galleries' but as peculiar sites where art is made to perform in acts of nation building. A book that fundamentally rewrites the history of these institutions and encourages the reader to dispense with elitist views of their worth, Knell reveals an unseen geography and a rich complexity of performance. He considers the ways the national galleries entangle art and nation, and the differing trajectories and purposes of international and national art. Exploring galleries, artists and artworks from around the world, National Galleries is an argument about how we think about and study these institutions. Privileging the situatedness of each national gallery performance, and valuing localism over universalism, Knell looks particularly at how national art is constructed and represented. He ends with examples that show the mutability of national art and by questioning the necessity of art nationalism.

This volume calls attention to the unexpected prevalence of ventriloqual motifs and strategies within contemporary art. Engaging with issues of voice, embodiment, power, and projection, the case studies assembled in this volume span a range of media from painting, sculpture, and photography to installation, performance, architecture, and video. Importantly, they both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate elegantly between art history, theory, and criticism through both analytical and performative means. In speaking about ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.

This volume calls attention to the unexpected prevalence of ventriloqual motifs and strategies within contemporary art. Engaging with issues of voice, embodiment, power, and projection, the case studies assembled in this volume span a range of media from painting, sculpture, and photography to installation, performance, architecture, and video. Importantly, they both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate elegantly between art history, theory, and criticism through both analytical and performative means. In speaking about ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.

Drawing together nearly 40 years of experience, Museums without Borders presents the key works of one of the most respected practitioners and scholars in the field. Through these selected writings, Robert R. Janes demonstrates that museums have a broader role to play in society than is conventionally assumed. He approaches the fundamental questions of why museums exist and what they mean in terms of identity, community, and the future of civil life. This book consists of four Parts: Indigenous Peoples; Managing Change; Social Responsibility, and Activism and Ethics. The Parts are ordered chronologically and each begins with an introduction and an overview of the ensuing articles which situates the papers in their historical and cultural contexts. Using an interdisciplinary approach that combines anthropology, ethnography, museum studies and management theory, Janes both questions and supports mainstream museum practice in a constructive and self-reflective manner, offering readers alternative viewpoints on important issues. Considering concepts not generally recognized in museum practice, such as the Roman leadership model of primus inter pares and the Buddhist concept of mindfulness, Janes argues that the global museum community must examine how they can meet the needs of the planet and its inhabitants. Museums without Borders charts the evolving role of the contemporary museum in the face of environmental, societal and ethical challenges, and explores issues that have, and will, continue to shape the museum sector for decades to come. This book demonstrates that it is both reasonable and essential to expand the purpose of museums at this point in history - not only because of their unique characteristics and value to society, but also because of Janes' respect and admiration for their rich legacy. It is time that museums assist in the creation of a new, caring, and more conscious future for themselves and their communities. This can only be done through authentic engagement with contemporary issues and aspirations.

Drawing together nearly 40 years of experience, Museums without Borders presents the key works of one of the most respected practitioners and scholars in the field. Through these selected writings, Robert R. Janes demonstrates that museums have a broader role to play in society than is conventionally assumed. He approaches the fundamental questions of why museums exist and what they mean in terms of identity, community, and the future of civil life. This book consists of four Parts: Indigenous Peoples; Managing Change; Social Responsibility, and Activism and Ethics. The Parts are ordered chronologically and each begins with an introduction and an overview of the ensuing articles which situates the papers in their historical and cultural contexts. Using an interdisciplinary approach that combines anthropology, ethnography, museum studies and management theory, Janes both questions and supports mainstream museum practice in a constructive and self-reflective manner, offering readers alternative viewpoints on important issues. Considering concepts not generally recognized in museum practice, such as the Roman leadership model of primus inter pares and the Buddhist concept of mindfulness, Janes argues that the global museum community must examine how they can meet the needs of the planet and its inhabitants. Museums without Borders charts the evolving role of the contemporary museum in the face of environmental, societal and ethical challenges, and explores issues that have, and will, continue to shape the museum sector for decades to come. This book demonstrates that it is both reasonable and essential to expand the purpose of museums at this point in history - not only because of their unique characteristics and value to society, but also because of Janes' respect and admiration for their rich legacy. It is time that museums assist in the creation of a new, caring, and more conscious future for themselves and their communities. This can only be done through authentic engagement with contemporary issues and aspirations.

Nominated for the 2017 Dayton Literary Peace Prize in non-fiction This volume examines peace museums, a small and important (but often overlooked) series of museums whose numbers have multiplied world-wide in recent decades. They relate stories and display artifacts-banners, diaries, and posters for example about such themes as: art and peace, antiwar histories, protest, peacekeeping and social justice and promote cultures of peace. This book introduces their different approaches from Japan, which has the largest number of sites, to Bradford, UK and Guernica, Spain. Some peace museums and centers emphasize popular peace symbols and figures, others provide alternative narratives about conscientious objection or civil disobedience, and still others are sites of persuasion, challenging the status quo about issues of war, peace, disarmament, and related issues. Introducing Peace Museums distinguishes between different types of museums that are linked to peace in name, theme or purpose and discusses the debates which surround peace museums versus museums for peace. This book is the first of its kind to critically evaluate the exhibits and activities of this group of museums, and to consider the need for a "critical peace museum studies" which analyses their varied emphasis and content. The work of an experienced specialist, this welcome introduction to peace museums considers the challenges and opportunities faced by these institutions now and in the future.

Researchers in cognitive development are gaining new insights into the ways in which children learn about the world. At the same time, there has been increased recognition of the important role that visits to informal learning institutions plays in supporting learning. Research and practice pursuits typically unfold independently and often with different goals and methods, making it difficult to make meaningful connections between laboratory research in cognitive development and practices in informal education. Recently, groundbreaking partnerships between researchers and practitioners have resulted in innovative strategies for linking findings in cognitive development together with goals critical to museum practitioners, such as exhibit evaluation and design. Cognitive Development in Museum Settings offers an account of ways in which researchers in cognitive development partner with museum practitioners. Each chapter describes a partnership between academic researchers and museum practitioners and details their collaboration, the important research that has resulted from their partnership, and the benefits and challenges of maintaining their relationship. This approach illustrates cutting-edge developmental science, but also considers how researcher-practitioner interactions affect research outcomes and provide insight to questions common to practitioners. In addition, each set of researchers and practitioners discusses issues brought up by the partnership by posing questions concerning research-practice partnerships and research evidence, considering whether and how cognitive development research conducted in museum settings aligns with larger disciplinary interests in that field, and examining to what extent museum practitioners benefit from applying research on the development of cognitive processes to their educational practices.

Mega-events have long been used by cities as a strategy to secure global recognition and attract future economic investment. However, while cultural mega-events like the European Capital of Culture have become increasingly popular, cities have begun questioning the traditional model of other events such as the Olympic Games with many candidate cities cancelling bids in recent years. This approach to planning and developing cities through mega-events introduces a broad range of physical effects and nuanced institutional changes for cities, particularly for the more sensitive heritage areas of cities. This book explores these issues by first examining the dynamics of cities' attempts to reduce overall costs and increase the sustainability of these large events by further embedding them within the existing fabric of the city and second by studying in depth the impact on the heritage of host cities. This book investigates three World Heritage Cities: Genoa, Liverpool and Istanbul, each of which have hosted the European Capital of Culture and introduced a variety of opportunities and risks for their heritage. The book highlights the potential benefits and challenges of integrating event and heritage planning to provide lessons that can help future historic cities and heritage decision makers better prepare for such events.

Over the last three decades, historic housing areas have become one of the major concerns in urban regeneration, housing renovation and conservation projects. Since the late 1990s, the notion of community, sustainability and sustainable community have become rising issues in the urban regeneration debate. Regeneration, Heritage and Sustainable Communities in Turkey contributes to this debate by integrating the interplay between regeneration, community needs and sustainability in the context of Istanbul. Together with the relational, multi-scalar and contingency planning approaches, these vital agents of regeneration provide new possibilities and creative opportunities to successfully deal with the uncertainties and complexities in evolving regeneration spaces. The interdisciplinary text reasons that finding the balance between the needs, aspirations and concerns of local communities and the conservation of the built environments will lead to more equitable and sustainable solutions to the problems faced in Istanbul's historic quarters.

During much of the twentieth century, film was often assumed to be a 'flat' pictorial art, more often compared with painting and graphic media than with sculpture. In the last few decades, however, film has come to be more closely associated with sculpture, and in recent years, it has largely been through gallery installations not only that the sculptural aspect of film and video has been demonstrated, but also the extent to which filmic representation enlarges our understanding of sculptural space. This collection thus comprises the first rigorous exploration of the relationship between sculpture and film, charted over ten essays. The contributors explore some of the ways in which cinema reshaped the landscape of art and specifically sculpture and sculptural practice during the twentieth century. They also examine how film has functioned as a 'sculptural' medium at crucial moments in various stages of its evolution. In this way, it is a book about both sculpture and film, and sculpture as film.

At the turn of the 21st century, a significant boom in the construction of cultural buildings took saw the creation of hundreds of performing arts centers, theaters, and museums. After these buildings were completed, however, many of these cultural organizations struggled to survive, or, alternatively, drifted off mission as the construction project forced monetary or other considerations to be prioritized. Building Better Arts Facilities: Lessons from a U.S. National Study examines the ways in which organizations planned and managed building projects during this boom, and investigates organizational operations after projects were completed. By integrating quantitative data with case-study evidence, the authors identify the differences between the ways some organizations were able to successfully meet the challenges of a large construction project and others that were not. With empirical evidence and analysis, this book highlights better practices for managing and leading cultural building ventures. Readers of this book - be they arts managers, politicians, board members, city planners, foundation executives, or philanthropists - will find that book provides valuable perspective and insight about building cultural facilities, and that reading it will serve to make building projects go more smoothly in the future.

Materials for Conservation is the definitive introduction to the properties of materials used in conservation. The continual struggle of conservators to ameliorate the deterioration of objects has led to increasing use of synthetic polymers. These materials are part of the sophisticated technology that has been developed to augment and often replace traditional materials and methods. Conservators therefore have a wider range of techniques available. However, they must be able to appreciate the potentials and pitfalls of any proposed technique. The first section explains physical and chemical properties which are important in the conservation process, i.e. application, ageing, reversal. The topics covered include molecular weight, glass transition temperature, solubility and solvents, polymerisation and degradation reactions. The second section provides a detailed consideration of the individual materials, current and obsolete, used in conservation, drawing out the factors relevant to their effects on objects. The conservation uses of each material are summarised and referenced to allow further study. In five appendices, the properties of the polymers, solvents and their interactions are tabulated, with a list of suppliers and conversion table of physical units. IUPAC and SI nomenclature is used throughout the book. In this second edition, this classic text is revised and updated to include modern materials such as cyclododecane, and current ideas on adhesion, consolidation and reversibility, making Materials in Conservation the definitive source of vital information in the field. This handy reference book should be on the bench of every conservator and available wherever objects, from steam engines to dried plants, are preserved.

This book explains how designing, playing and modifying computer games, and understanding the theory behind them, can strengthen the area of digital humanities. This book aims to help digital humanities scholars understand both the issues and also advantages of game design, as well as encouraging them to extend the field of computer game studies, particularly in their teaching and research in the field of virtual heritage. By looking at re-occurring issues in the design, playtesting and interface of serious games and game-based learning for cultural heritage and interactive history, this book highlights the importance of visualisation and self-learning in game studies and how this can intersect with digital humanities. It also asks whether such theoretical concepts can be applied to practical learning situations. It will be of particular interest to those who wish to investigate how games and virtual environments can be used in teaching and research to critique issues and topics in the humanities, particularly in virtual heritage and interactive history.

The Artangel Trust has been credited with providing artists with all the money and logistics they need to create one-off dream projects. An independent art commissioning agency based in London, it has operated since 1985 and is responsible for producing some of the most striking ephemeral and site-specific artworks of the last decades, from Rachel Whiteread's House to Jeremy Deller's The Battle of Orgreave. Artangel's existence spans three decades, which now form a coherent whole in terms of both art historical and political periodisation. It was launched as a reaction to the cuts in funding for the visual arts introduced by the Thatcher government in 1979 and has since adapted in a distinctive way to changing cultural policies. Its mixed economic model, the recourse to public, private and corporate funds, is the result of the more general hybridisation of funding encouraged by successive governments since the 1980s and offers a contemporary case study on broader questions concerning the specificities of British art patronage. This book aims to demonstrate that the singular way its directors have responded to the vagaries of public funding and harnessed new national attitudes to philanthropy has created a sustainable independent model, but also that it has been reflected more formally, in their approach to site. The locational art produced by the agency has indeed mirrored new distinctions between public and private spaces, it has reflected the social and economic changes the country has gone through and accompanied the new cultural geographies shaping London and the United Kingdom. Looking into whether their funding model might have had a formal incidence on the art they helped produce and on its relation to notions of publicness and privacy, the study of Artangel gives a fresh insight into new trends in British site-specific art.