The museum field is experiencing a critical gaze that is both "of the moment" and long overdue. Museums were built as colonial enterprises and are slow to awaken to the harm caused by their actions which are not limited to the capturing and keeping of Indigenous ancestors, the exclusion and erasure of Black voices, bodies, and creativity, and the positioning of white power in the C-suite and board rooms. For decades, the conversation about equity and inclusion in the museum field has become louder. It is no longer possible to ignore the systemic racism embedded in our society and our profession. The Inclusive Museum Leader offers insights and perspectives from two recognized museums leaders who have joined together to offer practical solutions and opportunities for today's museum leaders. Authors share their journeys to becoming inclusive leaders, as well as decisions they have made and actions they have taken to build equitable practices within their organizations. Throughout the book are personal exercises and provocations the reader is invited to respond to, making the book a valuable tool for any museum leader looking to enhance their style and re-frame their decision-making process.

Innovative tourism industry leader Rosemary Rice McCormick guides the reader through the basics of marketing and tourism know-how for museum store managers and other museum and heritage marketing professionals. Packed with valuable ideas and case studies, you will learn how to build your business in the fast-growing, global tourism market, increase museum visitation and museum store sales, leverage business partnerships and tap into that "drive market" that comprises 85% of US travelers. This valuable resource is a must for all those in the business of connecting people with the cultural wealth of our museums and parks. The book received a 2011 SASI-ONE Gold Award from the Shop America Alliance.

The museum boom, with its accompanying objectification and politicization of culture, finds its counterpart in the growing interest by social scientists in material culture, much of which is to be found in museums. Not surprisingly, anthropologists in particular are turning their attention again to museums, after decades of neglect, during which fieldwork became the hallmark of modern anthropology - so much so that the "social" and the "material" parted company so radically as to produce a kind of knowledge gap between historical collections and the intellectuals who might have benefitted from working on these material representations of culture. Moreover it was forgotten that museums do not only present the "pastness" of things. A great deal of what goes on in contemporary museums is literally about planning the shape of the future: making culture materialize involves mixing things from the past, taking into account current visions, and knowing that the scenes constructed will shape the perspectives of future generations. However, the (re-)invention of museum anthropology presents a series of challenges for academic teaching and research, as well as for the work of cultural production in contemporary museums - issues that are explored in this volume.

Taking the significant Faro Convention on the Value of Cultural Heritage for Society (Council of Europe 2005) as its starting point, this book presents pragmatic views on the rise of the local and the everyday within cultural heritage discourse. Bringing together a range of case studies within a broad geographic context, it examines ways in which authorised or 'expert' views of heritage can be challenged, and recognises how everyone has expertise in familiarity with their local environment. The book concludes that local agenda and everyday places matter, and examines how a realignment of heritage practice to accommodate such things could usefully contribute to more inclusive and socially relevant cultural agenda.

Twentieth-century war is a unique cultural phenomenon and the last two decades have seen significant advances in our ability to conceptualize and understand the past and the character of modern technological warfare. At the forefront of these developments has been the re-appraisal of the human body in conflict, from the ethics of digging up First World War bodies for television programmes to the contentious political issues surrounding the reburial of Spanish Civil War victims, the relationships between the war body and material culture (e.g. clothing, and prostheses), ethnicity and identity in body treatment, and the role of the 'body as bomb' in Iraq, Afghanistan and beyond. Focused on material culture, Bodies in Conflict revitalizes investigations into the physical and symbolic worlds of modern conflict and that have defined us as subjects through memory, imagination, culture and technology. The chapters in this book present an interdisciplinary approach which draws upon, but does not privilege archaeology, anthropology, military and cultural history, art history, cultural geography, and museum and heritage studies. The complexity of modern conflict demands a coherent, integrated, and sensitized hybrid approach which calls on different disciplines where they overlap in a shared common terrain - that of the materiality of conflict and its aftermath in relation to the human body. Bodies in Conflict brings together the diverse interests and expertise of a host of disciplines to create a new intellectual engagement with our corporeal nature in times of conflict.

Over the last twenty years the educational role of the museum has come to be central to its mission. There are now far more educational opportunities, new spaces, new interfaces - both digital and physical, and a growing number of education and interpretation departments, educational curators and public engagement programmes. Despite these developments, however, higher education has remained a marginal collaborator compared to primary and secondary schools and to other forms of adult learning. This has meant that the possibilities for partnerships between universities, colleges, museums and galleries has remained relatively unexplored, especially in relation to their potential for generating innovative patterns of research and learning. This book addresses the key issues which are preventing such partnerships and examines how to enable more effective and creative connections between museums and higher education. The authors identify conceptual and practical barriers and explore whether current academic models are fit for purpose. They argue that as pressures mount on public educational resources around the world, there needs to be an urgent increase in the exchange of knowledge across these sectors and the forging of world-class scholarly partnerships. Examples of research undertaken internationally offer best practice models for collaboration and integration. This book will be compulsory reading for museum and educational specialists and those interested in engaging in museum/higher education partnerships. It will also be of interest to those involved in policy and decision-making in education, the museum sector and national and local government.

The Making of Modern Finance is a path-breaking study of the construction of liberal financial governance and demonstrates how complex forms of control by the state profoundly transformed the nature of modern finance.

Challenging dominant theoretical conceptions of liberal financial governance in international political economy, this book argues that liberal economic governance is too often perceived as a passive form of governance. It situates the gold standard in relation to practices of monetary governance which preceded it, tracing the evolution of monetary governance from the late middle Ages to show how the 19th century gold standard transformed the way states relate to finance. More specifically, Knafo demonstrates that the institutions of the gold standard helped to put in place instruments of modern monetary policy that are usually associated with central banking and argues that the gold standard was a prelude to Keynesian policies rather than its antithesis. The author reveals that these state interventions played a vital role in the rise of modern financial techniques which emerged in the late 18th and 19th century and served as the foundation for contemporary financial systems.

This book will be of strong interest to students and scholars of international political economy, economic history and historical sociology. It will appeal to those interested in monetary and financial history, the modern state, liberal governance, and varieties of capitalism.

Public Art acknowledges the trend among contemporary museums to promote participatory and processual exhibition strategies meant to elicit subjective experience. At the same time it valorizes the object-oriented tradition that has long differentiated museums from other institutions similarly committed to public service and the perpetuation of cultural values. To blend and expand these aims, Hein draws upon a movement toward ephemerality and impermanence in public art. She proposes a new dynamic for the museum that is temporal and pluralistic, while retaining a grounding in material things. The museum is an agent, not a repository; and like public art, it interacts constructively with passing and transitory publics. As an actor with social clout, the museum has moral impact and responsibilities beyond those of the individuals that comprise its collective identity. The book should be read by museum workers and students, by arts and foundation administrators, critics, educators, aestheticians, institutional historians and theorists, and by anyone interested in the transmission of cultural concepts and values.

We live in a "museum age," and sport museums are part of this phenomenon. In this book, leading international sport history scholars examine sport museums including renowned institutions like the Olympic Museum in the Swiss city of Lausanne, the Babe Ruth Birthplace and Museum in Baltimore, the Marylebone Cricket Club Museum in London, the Croke Park Museum in Dublin, and the Whyte Museum in Banff. These institutions are examined in a broad context of understanding sport museums as an identifiable genre in the "museum age", and more specifically in terms of how the sporting past is represented in these museums. Historians explain, debate and critique sport museums with the intention of understanding how this important form of public history represents sport for audiences who see museums as institutions that are inherently reliable and trustworthy.

The past decade has seen a profound shift in our collective understanding of the digital network. What was once understood to be a transcendent virtual reality is now experienced as a ubiquitous grid of data that we move through and interact with every day, raising new questions about the social, locative, embodied, and object-oriented nature of our experience in the networked world. In The Emergence of the Digital Humanities, Steven E. Jones examines this shift in our relationship to digital technology and the ways that it has affected humanities scholarship and the academy more broadly. Based on the premise that the network is now everywhere rather than merely "out there," Jones links together seemingly disparate cultural events-the essential features of popular social media, the rise of motion-control gaming and mobile platforms, the controversy over the "gamification" of everyday life, the spatial turn, fabrication and 3D printing, and electronic publishing-and argues that cultural responses to changes in technology provide an essential context for understanding the emergence of the digital humanities as a new field of study in this millennium. The Open Access version of this book, available at https://doi.org/10.4324/9780203093085, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

As the hundredth anniversary approaches, it is timely to reflect not only upon the Great War itself and on the memorials which were erected to ensure it did not slip from national consciousness, but also to reflect upon its rich and substantial cultural legacy. This book examines the heritage of the Great War in contemporary Britain. It addresses how the war maintains a place and value within British society through the usage of phrases, references, metaphors and imagery within popular, media, heritage and political discourse. Whilst the representation of the war within historiography, literature, art, television and film has been examined by scholars seeking to understand the origins of the 'popular memory' of the conflict, these analyses have neglected how and why wider popular debate draws upon a war fought nearly a century ago to express ideas about identity, place and politics. By examining the history, usage and meanings of references to the Great War within local and national newspapers, historical societies, political publications and manifestos, the heritage sector, popular expressions, blogs and internet chat rooms, an analysis of the discourses which structure the remembrance of the war can be created. The book acknowledges the diversity within Britain as different regional and national identities draw upon the war as a means of expression. Whilst utilising the substantial field of heritage studies, this book puts forward a new methodology for assessing cultural heritage and creates an original perspective on the place of the Great War across contemporary British society.

One might believe that museum studies is a stable field of academic inquiry based on a set of familiar institutional forms and functions. But as institutions museums have never been stable or singular, and neither has the discipline of museum studies. Museum studies as a field of academic inquiry has received little critical attention. One result of this neglect has arguably been a lack of invention in museum studies; another is the distancing of academic museum studies from museum practice. Doing Museology Differently charts a different course. A critical-creative reflection on academic practice, the book takes the form of a narrative account of museological fieldwork. A research story unfolds, challenging academic conventions at the level of its own presentation: the book combines critical museum visiting with an autobiographical voice. The identification of a previously underexplored interdisciplinary space leads the author to experiment with museum studies using contemporary developments in the theory and practice of human geography. The new approaches to museological research and representation that emerge from this unique inquiry challenge assumed institutional and intellectual boundaries and act as a call to further creative experimentation.

Museums are multifaceted institutions that reach across all disciplines and encounter a complex range of legal questions. Experts in museum and art law join forces in this essay-format volume. These unique, nonprofit cultural organizations face a myriad of legal concerns as they launch into the twenty-first century and will continue to require specific guidance. From intellectual property law to navigating waters of social media, de-accessioning concerns to governance law, copyright, and rights and reproduction questions to issues of public domain and public trust, The Legal Guide for Museum Professionals seeks to provide answers and courses of action for museums of all disciplines. This book will assist professionals in determining when to seek professional legal counsel and when to educate themselves and proceed on their own. The book was inspired by a panel of experts who have presented at numerous regional and national conferences for museum professionals are especially practiced at providing insight into current legal concerns, including: Gil Whittemore Esq. of Rath, Young and Pignatelli, P.C. and former Chair of the American Bar Association's Museum Law Committee; Katherine E. Lewis Esq. Chair of the American Bar Association's Museum Law Committee and practicing New York attorney; Mark S. Gold Esq. practicing attorney in Williamstown, MA with the firm of Parese, Sabin, Smith & Gold LLP who has written and edited extensively on all aspects of museum and art law. All three contributed to this volume.

This volume explores how Italian institutions, dealers, critics, and artists constructed a modern national identity for Italy by exporting - literally and figuratively - contemporary art to the United States in key moments between 1929 and 1969. From artist Fortunato Depero opening his Futurist House in New York City to critic Germano Celant launching Arte Povera in the United States, Raffaele Bedarida examines the thick web of individuals and cultural environments beyond the two more canonical movements that shaped this project. By interrogating standard narratives of Italian Fascist propaganda on the one hand and American Cold War imperialism on the other, this book establishes a more nuanced transnational approach. The central thesis is that, beyond the immediate aims of political propaganda and conquering a new market for Italian art, these art exhibitions, publications, and the critical discourse aimed at American audiences all reflected back on their makers: they forced and helped Italians define their own modernity in relation to the world's new dominant cultural and economic power. The book will be of interest to scholars working in art history, social history, exhibition history, and Italian studies.

The Making of Modern Finance is a path-breaking study of the construction of liberal financial governance and demonstrates how complex forms of control by the state profoundly transformed the nature of modern finance. Challenging dominant theoretical conceptions of liberal financial governance in international political economy, this book argues that liberal economic governance is too often perceived as a passive form of governance. It situates the gold standard in relation to practices of monetary governance which preceded it, tracing the evolution of monetary governance from the late middle Ages to show how the 19th century gold standard transformed the way states relate to finance. More specifically, Knafo demonstrates that the institutions of the gold standard helped to put in place instruments of modern monetary policy that are usually associated with central banking and argues that the gold standard was a prelude to Keynesian policies rather than its antithesis. The author reveals that these state interventions played a vital role in the rise of modern financial techniques which emerged in the late 18th and 19th century and served as the foundation for contemporary financial systems. This book will be of strong interest to students and scholars of international political economy, economic history and historical sociology. It will appeal to those interested in monetary and financial history, the modern state, liberal governance, and varieties of capitalism.

This comprehensive book brings to light the portraits, private collections and public patronage of the princesse de Lamballe, a pivotal member of Marie-Antoinette's inner circle. Drawing extensively on unpublished archival sources, Sarah Grant examines the princess's many portrait commissions and the rich character of her private collections, which included works by some of the period's leading artists and artisans. The book sheds new light on the agency, sorority and taste of Marie-Antoinette and her friends, a group of female patrons and model of courtly collecting that would be extinguished by the coming revolution.

Visitor engagement and learning, outreach, and inclusion are concepts that have long dominated professional museum discourses. The recent rapid uptake of various forms of social media in many parts of the world, however, calls for a reformulation of familiar opportunities and obstacles in museum debates and practices. Young people, as both early adopters of digital forms of communication and latecomers to museums, increasingly figure as a key target group for many museums. This volume presents and discusses the most advanced research on the multiple ways in which social media operates to transform museum communications in countries as diverse as Australia, Denmark, Germany, Norway, the UK, and the United States. It examines the socio-cultural contexts, organizational and education consequences, and methodological implications of these transformations.

Museums throughout the world are under increasing pressure in the wake of the 2008/2009 economic recession and the many pressing social and environmental issues that are assuming priority. The major focus of concern in the global museum community is the sustainability of museums in light of these pressures, not to mention falling attendance and the challenges of the digital world. Museums and the Paradox of Change provides a detailed account of how a major Canadian museum suffered a 40 percent loss in its operating budget and went on to become the most financially self-sufficient of the ten largest museums in Canada. This book is the most detailed case study of its kind and is indispensable for students and practitioners alike. It is also the most incisive published account of organizational change within a museum, in part because it is honest, open and reflexive. Janes is the first to bring perspectives drawn from complexity science into the discussion of organizational change in museums and he introduces the key concepts of complexity, uncertainty, nonlinearity, emergence, chaos and paradox. This revised and expanded third edition also includes new writing on strengthening museum management, as well as reflections on new opportunities and hazards for museums. It concludes with six ethical responsibilities for museum leaders and managers to consider. Janes provides pragmatic solutions grounded in a theoretical context, and highlights important issues in the management of museums that cannot be ignored.

This book reviews four decades of debate about restoring an industrial heritage site of inestimable value - the Venice Arsenal. Focusing on the challenges of economic, financial and institutional feasibility, it reveals how failing to address these aspects has undermined potential solutions from both technicians and heritage professionals. With a deep connection to the city over centuries, the Arsenal was the very basis of La Serenissima's sea power, enabling its economic expansion. Later, it maintained a vital military function through shipbuilding until World War II. But the slow process of abandonment of the traditional site's uses and spaces continues to pose questions regarding its preservation and re-use. Drawing on original research from urban planners, architects and historians, the book provides a critical investigation into the organizational and managerial challenges of this unique site, and crucially, why so little has been achieved compared with potential opportunities. Featuring numerous color photographs and exploring the particular challenges of restoration and re-use facing the Venice Arsenal, this insightful evaluation of the history of this site provides a uniquely informative case for the discipline of industrial heritage.

Museums, Modernity and Conflict examines the history of the relationship between museums, collections and war, revealing how museums have responded to and been shaped by war and conflicts of various sorts. Written by a mixture of museum professionals and academics and ranging across Europe, North America and the Middle East, this book examines the many ways in which museums were affected by major conflicts such as the World Wars, considers how and why they attempted to contribute to the war effort, analyses how wartime collecting shaped the nature of the objects held by a variety of museums, and demonstrates how museums of war and of the military came into existence during this period. Closely focused around conflicts which had the most wide-ranging impact on museums, this collection includes reflections on museums such as the Louvre, the Stedelijk in the Netherlands, the Canadian War Museum and the State Art Collections Dresden. Museums, Modernity and Conflict will be of interest to academics and students worldwide, particularly those engaged in the study of museums, war and history. Showing how the past continues to shape contemporary museum work in a variety of different and sometimes unexpected ways, the book will also be of interest to museum practitioners.

* Expands on the well-established discussion of the translation from drawings to buildings and fills a lacuna in current scholarly publications, questioning the significance of the lives of drawings and models after construction. * Includes emerging, well-known and world-renowned scholars in the fields of architectural history and theory and curatorial practices, the 35 contributions are from Canada, UK, USA, Sweden, Greece, Netherlands, France, Italy, Portugal, Denmark, Germany, Japan, Colombia and New Zealand * Includes the practices of architects such as Sir John Soane, Superstudio, Viollet-le-Duc, Frank Lloyd Wright, Wajiro Kon, German Samper Gnecco, A+PS, Mies van der Rohe and Renzo Piano.

Sports are intertwined with American society. Since the earliest forms of native games to today's extreme competitions, sports have left an indelible mark on the fabric of American culture. Today, sports are a multibillion-dollar industry. Social media provides a never ceasing outlet for community interaction surrounding sporting events and discussions. At their core, sports are an opportunity for self-exploration through the lens of competition, social structures, and community building. Interpreting Sports at Museums and Historic Sites encourages museums, historical sites and cultural institutions to consider the history of sport as integral to American culture and society. Sports provide a vehicle to understanding the growth and development of America from colonization to globalization. Central to this work is a call to bring a balanced view of humanity to the sports commemoration conversation. Museums can and should be places of advocacy and inclusion for all athletes and sports figures: young & old, ametuer & professional, past & present. Practitioners are encouraged to consider museums as safe spaces to approach empathetic, complex, enthralling conversations that allow for both celebratory and challenging topics. This comprehensive study provides analytical direction and practical application for interpreting sports history at a variety of sites; guiding sports and non-sports museum professionals alike. A robust series of essays illuminate the innovative, forward thinking nature of sport exhibition and programming that is an active part of the American museum experience. Thirty-two national and international authors take an honest look at the ways sports impacts culture and culture impacts sports. Six thematic essays uncover the particularities of navigating the sports historical landscape alongside an actively engaged, present-day audience. Then, a wide selection of case studies explore successful and unsuccessful attempts at attracting the public and engaging in educational discussion around both uplifting and difficult sports topics. Opportunities for including sports in exhibition planning and programmatic development are a key benefit of this practical guide. You'll discover an astounding variety of viewpoints and methods for offering popular sports programming into your institutional programming and outreach efforts. From a fun mix of museum professionals, historians, and sports personnel comes this complete guide to developing and implementing a more cohesive story of sport history within your institution.

The prevalent global heritage discourse has been primarily Euro-centric in its origin, premise, and praxis. Diverse cultural, historical, and geographical contexts, such as that of Asia, call for more context-specific approaches to heritage management. This book explores this complexity of managing the cultural heritage in Asia. Case studies include sites of Angkor, Himeji Castle, Kathmandu Valley, Luang Prabang, Lumbini, and Malacca, and the book uses these to explore the religious worldviews, heritage policies, intangible heritage dimensions, traditional preservation practices, cultural tourism, and the notion of cultural landscape that are crucial in understanding the cultural heritage in Asia. It critiques the contemporary regulatory frameworks in operation and focuses on the issues of global impact on the local cultures in the region. The book goes on to emphasize the need for integrated heritage management approaches that encompass the plurality of heritage conservation concerns in Asian countries. Themes are discussed from the vantage point of heritage scholars and practitioners in the South, Southeast, and East Asia. This book thus presents a distinctive Asian perspective which is a valuable source for students and practitioners of heritage within and beyond the Asian context.

This volume examines the ways in which the violent legacies of the twentieth century continue to affect the concept of the nation. Through a study of three societies' commemoration of notorious episodes of 1930s state violence, the author considers the manner in which attention to the state violence authoritarianism, and exclusions of the last century have resulted in challenges to dominant conceptions of the nation. Based on extensive ethnographic research in El Salvador, Spain, and the Dominican Republic, Remembering Violence focuses on new public sites of memory, such as museum exhibitions, monuments, and commemorations - powerful loci for representing ideas about the nation - and explores the responses of various actors - civil society, government, and diasporic citizens - as well as those of UN and other international agencies invested in new nation-building goals. With attention to the ways in which memory practices explain ongoing national exclusions and contemporary efforts to contest them, this book will appeal to scholars across the social sciences and humanities with interests in public memory and commemoration.

The discussion about objects, ancestral remains and archives from former colonial territories is becoming increasingly heated. Over the centuries, a multitude of items - including a cannon of the King of Kandy, power-objects from DR Congo, Benin bronzes, Javanese temple statues, Maori heads and strategic documents - has ended up in museums and private collections in Belgium and the Netherlands by improper means. Since gaining independence, former colonies have been calling for the return of their lost heritage. As continued possession of these objects only grows more uncomfortable, governments and museums must decide what to do. How did these objects get here? Are they all looted, and how can we find out? How does restitution work in practice? Are there any appealing examples? How do other former colonial powers deal with restitution? Do former colonies trust their intentions? The answers to these questions are far from unambiguous, but indispensable for a balanced discussion.