• Les perspectives
• L'expérientiel
• L'interprétation
• L'engagement
• La participation
• Les conditions nécessaires
• Dépasser l'impératif du patrimoine
• Redécouvrir la notion d'action culturelle
• Réinventer l'institution et ses professions
• Conclusion
• Postface. Une altermuséologie plurielle et participative / Raymond Montpetit.

"L'exposition est multiple et protéiforme, omniprésente et multidisciplinaire. Pratique culturelle des plus communes, elle connaît un succès indéniable auprès des publics et évolue en fonction des transformations et mutations des sociétés contemporaines. En quoi l'exposition prend-elle son autonomie tant vis-à-vis du secteur du patrimoine que de ses missions originelles d'éducation ? Pourquoi le concept de médiation culturelle doit-il être clarifié ? Forgeant son discours sur ces questions centrales, Serge Chaumier découvre de nouveaux territoires d'exploration et de développement pour l'avenir. En favorisant l'expérientiel, l'interprétation, l'engagement et la participation, l'exposition accompagne et illustre les formes nouvelles de l'action culturelle.

• Réplique d'artiste, péché d'artiste? / Gino Severini par lui-même
• Le chef-d'oeuvre auquel il est impossible de renoncer / Willem Sandberg et Piet Mondrian
• Genius loci - Esprit de l'oeuvre, oeuvre de l'esprit / Harald Seiler (sur les traces d'Alexander Dorner) et El Lissitzky
• "Mettre le regard sous le contrôle du toucher" / Pontus Hultén et Vladimir Tatline
• La mariée et ses prétendants / Ulf Linde, Richard Hamilton et Marcel Duchamp.

"Parmi les chefs-d'oeuvre des grands musées d'art moderne figurent des répliques, des copies ou des reconstitutions, toutes dérivées d'une oeuvre originale qui, dans la plupart des cas, a été altérée, perdue ou détruite. Résurrections historiques, fictions institutionnalisées : les objets ambigus cités par l'auteure sont tous au service d'un désir de connaissance profonde, sans cesse reprise, sans cesse complétée, grâce à un musée devenu producteur au même titre que conservateur. Cinq oeuvres de Gino Severini, Piet Mondrian, El Lissitzky, Vladimir Tatline et Marcel Duchamp, rendent diversement compte de ce destin."--Page 4 of cover.

A concise history of one of the world's greatest and most comprehensive museum collections, from its founding in 1753. A product and symbol of the 18th-century Enlightenment, the British Museum is as iconic an expression of that cultural tendency as Johnson's Dictionary, the French Encyclopedie and Linnaean plant classification. Its collections embody the raw material of empiricism - the bringing together of things to enable the widest intellectual experiment to take place. James Hamilton explores the establishment of the Museum in the 1750s (from the bequest to the nation of the collections of Sir Hans Sloane); the chosen site of its location; the cultural context in which it came into being; the subsequent development, expansion and diversification of the Museum, both as a collection and as a building, from the early 19th to the 21st century; the controversy occasioned by some of its acquisitions; and the legacy and influence of the Museum nationally and globally.
(source: Nielsen Book Data) 9781786691835 20180611

• Einleitung
• Anfänge
• Die Kunst des Wunderns
• Die Teilung der Sammlungen
• Die Erfindung des Schaudepots
• Depotausstellungen : Vier Portraits
• Gottfried Sempers Ideales Museum
• Das k.k. Österreichische Museum für Kunst und Industrie
• Eine Vorbildersammlung, die zum Museum wird
• Studiensammlung und Design-Labor
• Fazit : das Ende der Studiensammlungen
• Carl von Linnes Ordnung der Dinge und der "Ursprung der Kultur"
• Das Bremer Ubersee-Museum
• Stammbäume und Kulturkreise
• Das Schaumagazin
• Fazit : das Museum als Forschungsort
• Alfred Döblins Berlin Alexanderplatz
• Das Deutsche Literaturarchiv Marbach
• Depot-Ordnungen und Werkcharakter
• Literarische Archivalien im Literaturmuseum der Moderne
• Die Literaturausstellung als Erkenntnis- und Distinktionsmittel
• Epilog : Abschied vom "Schatzhaus der Kennerschaft"?
• Der Deutsche Werkbund und die Alltäglichkeit der Dinge
• Der Deutsche Werkbund und die Versöhnung der Kulturen
• Vom Museum der Alltagskultur zum Museum der Dinge
• Die Sammlung des Flaneurs
• Offenes Depot
• Fazit : Alltagskultur und die Logik der Kunst
• Die Macht Der Ideen : Episteme der Depotausstellungen
• Linkes Denken und Neue Kulturpolitik
• Die Krise der (Re-)Präsentation
• Materielle Kultur und die Sinnlichkeit der Dinge
• Neuer Archiv-und Wissensdiskurs
• Fazit : Machtkritik, Erkenntnistheorie und Krisensymptome
• Die Transformation der Dinge : Werk, Exemplar, Zeuge
• Werk
• Exemplar
• Zeuge
• Werk, Exemplar und Zeuge : Produkte kuratorischer Praxis
• Die Logik der Räume : Ausstellung und Depot
• Depot-und Ausstellungsraum
• Archivalie und Exponat
• Das Depot Als Versprechen
• Das Depot als politische Utopie
• Das Depot als epistemische Methode
• Das Depot als geheimnisvoller Ort
• Die Aura des Depots : Experiment, Freiheit und Kreativität
• Die Zukunft des Depots
• Dank
• Quellen
• Literatur
• Abbildungsnachweise.

• Introduction: `This is not a protest. This is a process'
• 1. Political Protest
• 2. Disciplinary Crisis
• 3. Writing Resistance Conclusion: `Movements are born in the moments when abstract principles become concrete concerns'.
• (source: Nielsen Book Data)

The Disobedient Museum: Writing at the Edge aims to motivate disciplinary thinking to reimagine writing about museums as an activity where resistant forms of thinking, seeing, feeling, and acting can be produced, and to theorize this process as a form of protest against disciplinary stagnation.Drawing on a range of cultural, theoretical, and political approaches, Kylie Message examines potential links between methods of critique today and moments of historical and disciplinary crisis, and asks what contribution museums might make to these, either as direct actors or through activities that sit more comfortably within their institutional remit. Identifying the process of writing about museums as a form of activism, that brings together and elaborates on cultural and political agendas for change, the book explores how a process of engaged critique might benefit museum studies, what this critique might look like, and how museum studies might make a contribution to discourses of social and political change.The Disobedient Museum is the first volume in Routledge's innovative `Museums in Focus' series and will be of great interest to scholars and students in the fields of Museum, Heritage, Public History, and Cultural Studies. It should also be essential reading for museum practitioners, particularly those engaged with questions about the role of museums in regard to social activism and contentious contemporary challenges.
(source: Nielsen Book Data) 9781315294117 20180219

"Le XXe siècle fut le temps du développement des musées, de leur mise en cause, de leur réinvention et souvent de leur redistribution. Le Mucem incarne une part essentielle de cette évolution, grâce à ses collections issues du musée d'Ethnographie du Trocadéro, du musée de l'Homme et du musée national des Arts et Traditions populaires, héritiers de Georges Henri Rivière (1897-1985). Fasciné par l'objet, au contact des créateurs et des collectionneurs, Rivière consacra son existence aux musées, pour en faire non seulement des lieux de sauvegarde, mais aussi des espaces d'accueil des chercheurs comme des publics. En prenant sa vie comme fil conducteur, "Georges Henri Rivière. Voir, c'est comprendre" dresse le portrait d'une époque: du cabaret parisien du Boeuf sur le toit aux enquêtes ethnologiques dans l'Aubrac, jusqu'à l'invention d'un musée révolutionné, instrument de connaissance évolutif et participatif jusqu'alors sans équivalent."--Page 4 of cover.

• List of figures Acknowledgements Introduction: Practical Histories: How We Do Things with Performance by Jonah Westerman
• Chapter 1. Stuart Comer, Chief Curator in the Department of Media and Performance Art-- Michelle Elligott, Chief of Archives, MoMA-- Ana Janevski, Associate Curator-- in conversation with Jonah Westerman, New York, April
• 2015.
• Chapter 2. Jay Sanders, Engell Speyer Family Curator and Curator of Performance, Whitney Museum of American Art, in conversation with Jonah Westerman, New York, April
• 2015.
• Chapter 3. Catherine Wood, Senior Curator International Art (Performance), and Pip Laurenson, Head of Collection Care Research, in conversation with Jonah Westerman, London, June,
• 2016.
• Chapter 4. Jill Sterrett, Director of Collections and Conservation, Rudolf Frieling, Curator for Media Arts, and Frank Smigiel, Associate Curator for Performance and Film, in conversation with Gabriella Giannachi, San Francisco Museum of Modern Art, San Francisco, August,
• 2015.
• Chapter 5. Christiane Berndes, Curator and Head of Collection, and Annie Fletcher, Chief Curator, Van Abbemuseum, in conversation with Jonah Westerman, Amsterdam February
• 2015.
• Chapter 6. Tim Griffin, Executive Director and Chief Curator, The Kitchen, in conversation with Jonah Westerman, New York, April
• 2015.
• Chapter 7. Philip Bither, William and Nadine McGuire Director and Senior Curator, Performing Arts-- Eric Crosby, Associate Curator, Visual Arts-- Robin Dowden, Director, New Media Initiatives-- Fionn Meade, Artistic Director-- Walker Art Center, in conversation with Jonah Westerman, Minneapolis, April
• 2015.
• Chapter 8. RoseLee Goldberg, Founding Director and Curator, Performa, in conversation with Jonah Westerman, New York, May
• 2015.
• Chapter 9. Gaby Wijers, Director, LIMA, in conversation with Jonah Westerman, Amsterdam, February,
• 2015.
• Chapter 10. Pics or It Didn't Happen: Amalia Ulman Interviewed by Catherine Wood.
• Chapter 11. Performing the Archive and Exhibiting the Ephemeral by Barbara Clausen.
• Chapter 12. At the edge of the `living present': re-enactments and re-interpretations as strategies for the preservation of performance and new media art by Gabriella Giannachi.
• Chapter 13. Documenting Interaction by Katja Kwastek.
• Chapter 14. Screen Capture and Replay: Documenting Gameplay as Performance by Henry Lowood, Eric Kaltman and Joseph C. Osborn.
• Chapter 15. Mixed Reality Performance through Ethnography by Peter Tolmie and Steve Benford. Afterword: The intention of the artist and the point of view of the audience, performance documentation revisited, by Gabriella Giannachi. Index.
• (source: Nielsen Book Data)

How might we document, curate, collect, and exhibit performance? Histories of Performance Documentation traces the many ways in which museums have approached performance works from the 1960s onwards. Considering the unique challenges of documenting live events including hybrid and interactive arts, games, virtual and mixed reality performance, this collection investigates the burgeoning role of the performative in museum displays, and examines a number of interdisciplinary documentation practices which have influenced the field of performance documentation. Gabriella Giannachi and Jonah Westerman bring together interviews and essays by leading curators, conservators, artists and scholars from institutions including MoMA, Tate, SFMOMA and the Whitney. Developing from recent approaches which argue that discussions of performance should not focus purely on the live event, and that documentation should not be read solely as a process of retrospection, these chapters build a radical new framework for thinking about the relationship between performance and its documentation - and how documentation might shape ideas of what constitutes performance in the first place.
(source: Nielsen Book Data) 9781138184138 20171023

$a 本书以民国时期的中国博物馆协会为中心开展研究, 评估中国博物馆协会成立对于民国博物馆事业发展的作用, 了解民国学人在博物馆学方面的修养和知识储备, 审视中国博物馆发生和发展的情况.

• Introduction: `It's a summer of sequels. The culture wars are back. So is the civil rights movement'
• 1. Museums
• 2. Multiculturalism
• 3. Racism Conclusion: `I feel like I belong when I am made to feel welcome'.
• (source: Nielsen Book Data)

Racism is a hot topic in museums today, as well as an urgent social issue. Focused on the broad field of multicultural policy, Museums and Racism examines how the Immigration Museum in Melbourne, Australia, has responded to political culture and public debate around racism. Analysis focuses on the conceptualization of the Immigration Museum in the mid-1990s, and on the most recent permanent exhibition to be opened there, in 2011, which coincided with the publication of a new multicultural policy for Australia. The opening of the National Museum of Australia in Canberra in the intervening period is also examined in some detail, as a comparative case study to provide a sense of the broader national social and political context. Message argues that each of the three episodes demonstrates the close relationship between museum and exhibition development on the one hand, and policy, politics, and public opinion on the other hand. Including a discussion of examples from the United States and other relevant contexts, Museums and Racism is key reading for students and scholars of museum studies and cultural studies around the world. The book should also be of great interest to museum practitioners and policymakers in the area of multiculturalism.
(source: Nielsen Book Data) 9781138240179 20180709

• "Les collections puniques du musée de Kerkouane et leur vocation méditerranéenne" / Mounir Fantar
• "De Simitthus en Afrique proconsulaire à Chimtou en Tunisie : chronique d'un site" / Moheddine Chaoualt
• "Le musée national du Bardo : "éternel lieu de culture et de rencontres"" / Fatma Naït Yghil
• Allocution d'accueil / Michel Zink
• "De la pierre au plâtre : quelques expériences de copies de mosaïque" / Henri Lavagne
• "Muséographie et histoire : le musée national du Bardo (Tunisie)" / Adellatif Mrabet
• "Sculpture romaine et patrimoine de l'Afrique antique" / François Baratte.

"L'actualité récente a mis sur le devant de la scène la question de la préservation du patrimoine et du rôle des musées aussi bien sur le plan culturel et scientifique que sur celui de l'économie. Quelques exemples représentatifs permettent de faire le point sur les situations et les politiques actuelles des pays d'Afrique du Nord en ce domaine."--Page 4 of cover.

• 1: Introduction: Staging public representations in the Cite Nationale de l'Histoire de l'Immigration, the Deutsches Historisches Museum, and the Friedrichshain-Kreuzberg Museum.2: Museums, the public, and immigration.3: Microsociological Contextualisation Analysis.4: Epistemic production behind the museum scenes in France and Germany.5: Public interactions on the museum stages.6: Conclusion: Exhibiting immigrants-exposing the public.
• (source: Nielsen Book Data)

This book offers an interactionist perspective on theories of public representation, knowledge and immigration in museum institutions. Examining how a Franco-German museum exhibition represents immigrants and exposes public stereotypes, the analysis follows the process of the production and reception of the exhibition as it travelled from Paris to Berlin. The author proposes a microsociological contextualisation analysis integrating discourse analysis and ethnography to compare formats of museum work, social interaction in the exhibition and mass media debates. Visitor reception of the different exhibition versions reveals the symbolic nature of interactions in museums, for example concerning conflicting political voices and accusations of censorship. Depending on the institutional context, interactions in the museums are geared towards securing immigrants a place in national collective memory, towards carrying out debate on integration, or providing opportunities for personal encounters and reflection beyond national categorisation. This book will appeal to students and researchers interested in work on the intersection of sociology, cultural studies, and discursive psychology, in methods of discourse analysis and ethnography; and to practitioners working in museums.
(source: Nielsen Book Data) 9783319663562 20180508

• Contents Acknowledgements Introduction: Art, Science, Curiosity and Commerce Chapter One: Forming the Museum: Context and Chronology Chapter Two: The Great Windmill Street Anatomy School and Museum Chapter Three: Patronage and Patriots: Hunter and a National School of Artists Chapter Four: Collecting Ambitions (1770-1783) The Grand Tour Paintings Chapter Five: Pursuing the Imitation of Nature in and beyond the Royal Academy of Arts Bibliography Index.
• (source: Nielsen Book Data)

The eminent physician and anatomist Dr William Hunter (1718-1783) made an important and significant contribution to the history of collecting and the promotion of the fine arts in Britain in the eighteenth century. Born at the family home in East Calderwood, he matriculated at the University of Glasgow in 1731 and was greatly influenced by some of the most important philosophers of the Scottish Enlightenment, including Francis Hutcheson (1694-1746). He quickly abandoned his studies in theology for Medicine and, in 1740, left Scotland for London where he steadily acquired a reputation as an energetic and astute practitioner; he combined his working life as an anatomist successfully with a wide range of interests in natural history, including mineralogy, conchology, botany and ornithology; and in antiquities, books, medals and artefacts; in the fine arts, he worked with artists and dealers and came to own a number of beautiful oil paintings and volumes of extremely fine prints. He built an impressive school of anatomy and a museum which housed these substantial and important collections. William Hunter's life and work is the subject of this book, a cultural-anthropological account of his influence and legacy as an anatomist, physician, collector, teacher and demonstrator. Combining Hunter's lectures to students of anatomy with his teaching at the St Martin's Lane Academy, his patronage of artists, such as Robert Edge Pine, George Stubbs and Johan Zoffany, and his associations with artists at the Royal Academy of Arts, the book positions Hunter at the very centre of artistic, scientific and cultural life in London during the period, presenting a sustained and critical account of the relationship between anatomy and artists over the course of the long eighteenth century.
(source: Nielsen Book Data) 9781472424426 20171211