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115 pages : illustrations ; 22 cm.
  • 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)9781315294117 20180219
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
Art & Architecture Library (Bowes)
ix, 207 pages : illustrations ; 24 cm
  • 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)9781138184138 20171023
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
Art & Architecture Library (Bowes)
xi, 401 pages : illustrations ; 22 cm.
Art & Architecture Library (Bowes)
xi, 199 pages, 8 unnumbered pages of plates : illustrations (some color) ; 26 cm.
  • 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)9781472424426 20171211
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
SAL1&2 (on-campus shelving)
136 pages : color illustrations ; 27 cm
Art & Architecture Library (Bowes)
1 volume (unpaged) : color illustrations ; 30 cm
SAL1&2 (on-campus shelving)
ix, 195 pages : illustrations (chiefly color) ; 28 cm
SAL3 (off-campus storage)
xiv, 276 pages : illustrations ; 24 cm
  • Preface xiii 1 Paintings 1 1.1 Cleaning 1 1.2 Varnishes 41 1.3 Methods and Materials for Conservation 47 1.4 Analysis and Analytical Methods 70 1.5 Forgeries 81 2 Textiles 95 2.1 Textile Colors 95 2.2 Textiles from Various Locations 101 2.3 Processing Methods 108 3 Archaeological Wood 113 3.1 Analysis Methods 113 3.2 Materials for Conservation 122 3.3 Degradation 131 3.4 Special Properties 137 4 Fossils 149 4.1 Monograph 149 4.2 Paleontological Skill and the Role of the Fossil Preparator 149 4.3 Analysis Methods 150 4.4 Conservation Methods 163 5 Stones 177 5.1 Deterioration Processes 178 5.2 Analytical Methods 187 5.3 Conservation Methods 193 6 Glass 213 6.1 Analytical Methods 213 6.2 Cleaning Methods 217 6.3 Production Practices 229 6.4 Special Uses of Glass Materials 231 7 Archaeological Metals 237 7.1 Cleaning Methods 247 7.2 Special References 262 Index 267 Acronyms 267 Chemicals 269 General Index 273.
  • (source: Nielsen Book Data)9781119418917 20180306
Before the 1970s, most information concerning the conservation and restoration of paintings, wood, and archaeological artefacts were focused on the history of the artefacts, previous attempts of conservation, and the future use of these artefacts. The technical methods of how the restoration and conservation were made were dealt with only very briefly. Today, sophisticated methods of scientific analysis such as DNA are common place, and this encourages conservators and scientists to work together to work out the development of new methods for analysis and conservation of artefacts. This book focuses on the chemicals used for conservation and restoration of various artefacts in artwork and archaeology, as well as special applications of these materials. Also the methods used, both methods for cleaning, conservation and restoration, as well as methods for the analysis of the state of the respective artefacts. Topics include oil paintings, paper conservation, textiles and dyes for them, archaeological wood, fossils, stones, metals and metallic coins, and glasses, including church windows.
(source: Nielsen Book Data)9781119418917 20180306
Art & Architecture Library (Bowes)
xxxi, 503 pages, 24 unnumbered pages of plates : illustrations (some oclor) maps ; 24 cm
'Nothing so fully displays the grandeur of his mind as his immense and rare collections ... perhaps the fullest and most curious in the world', National Gazette, 1753 Hans Sloane (1660-1753) was the greatest collector of his time, and one of the greatest of all time. His name is familiar today through the London streets and squares named after him on land he once owned (Sloane Square, Hans Place), but the man himself, and his achievements, are almost forgotten. Born in the north of Ireland, Sloane made his fortune as a physician to London's wealthiest residents and through investment in land and slavery. He became one of the eighteenth century's preeminent natural historians, ultimately succeeding his rival Isaac Newton as President of the Royal Society, and assembled an astonishing collection of specimens, artefacts and oddities - the most famous curiosity cabinet of the age. Sloane's dream of universal knowledge, of a gathering together of every kind of thing in the world, was enabled by Britain's rise to global ascendancy. In 1687 he travelled to Jamaica, then at the heart of Britain's commercial empire, to survey its natural history, and later organised a network of correspondents who sent him curiosities from across the world. Shortly after his death, Sloane's vast collection was then acquired - as he had hoped - by the nation. It became the nucleus of the world's first national public museum, the British Museum, which opened in 1759.This is the first biography of Sloane in over sixty years and the first based on his surviving collections. Early modern science and collecting are shown to be global endeavours intertwined with imperial enterprise and slavery but which nonetheless gave rise to one of the great public institutions of the Enlightenment, as the cabinet of curiosities gave way to the encyclopaedic museum. Collecting the World describes this pivotal moment in the emergence of modern knowledge, and brings this totemic figure back to life.
(source: Nielsen Book Data)9781846146572 20171002
SAL1&2 (on-campus shelving)
2, 415 pages, 1 unnumbered leaf of plates : illustrations (some color), portraits, facsimiles ; 24 cm
East Asia Library
xi, 198 pages ; 24 cm.
  • Constituting the political
  • Sovereign orientations
  • The time of sovereignty
  • Monumental politics
  • Toward a less constitutional constitutionalism.
In Curating Community: Museums, Constitutionalism, and the Taming of the Political, Stacy Douglas challenges the centrality of sovereignty in our political and juridical imaginations. Creatively bringing together constitutional, political, and aesthetic theory, Douglas argues that museums and constitutions invite visitors to identify with a prescribed set of political constituencies based on national, ethnic, or anthropocentric premises. In both cases, these stable categories gloss over the radical messiness of the world and ask us to conflate representation with democracy. Yet the museum, when paired with the constitution, can also serve as a resource in the production of alternative imaginations of community. Consequently, Douglas's key contribution is the articulation of a theory of counter-monumental constitutionalism, using the museum, that seeks to move beyond individual and collective forms of sovereignty that have dominated postcolonial and postapartheid theories of law and commemoration. She insists on the need to reconsider deep questions about how we conceptualize the limits of ourselves, as well as our political communities, in order to attend to everyday questions of justice in the courtroom, the museum, and beyond. Curating Community is a book for academics, artists, curators, and constitutional designers interested in legacies of violence, transitional justice, and democracy.
(source: Nielsen Book Data)9780472073542 20171017
SAL1&2 (on-campus shelving)
xxiv, 298 pages, 32 unnumbered pages of plates : illustrations (some color) ; 25 cm.
  • Foreword Michael Novacek 1. Curating Connections in a Climate Changed World Kirsten Wehner, Libby Robin & Jenny Newell 2. Poem: "Tell Them" Kathy Jetnil-Kijiner Part 1: Welcoming New Voices: Opening museums 3. Rob Nixon, The Anthropocene and Social Justice Rob Nixon 4. Cameo: Museums Connecting Lumepa Apelu 5. Talking Around Objects: Stories for a Climate Changed world Jennifer Newell 6. Object in view: Jaki-ed mat, Marshall Islands Kristina Stege 7. The Pacific in New York: Managing Objects and Cultural Heritage Partnerships in Times of Global Change Jacklyn Lacey 8. Cameo: Connie Hart's Basket Tom Griffiths 9. Peoples who Still Live: The Role of Museums in addressing Climate Change in the Pacific Peter Rudiak-Gould 10. Object in view: Taking a Bite Out of Lost Knowledge: Sharks' Teeth, Extinction, and the Value of Preemptive Collections Josh Drew Part 2: Reuniting Nature and Culture 11. Towards an Ecological Museology: Responding to the animal-objects of the Australian Institute of Anatomy collection Kirsten Wehner 12. Object in view: Harry Clarke's high wheeler bicycle Daniel Oakman 13. Food and Water Exhibitions: Lenses on Climate Change Eleanor Sterling and Erin Betley 14. Object in view: The Stump-Jump Plough: Reframing a National Icon George Main 15. Telling Torres Strait History through Turtle Leah Lui-Chivizhe 16. Four Seasons in One Day: Weather, Culture and the Museum Kirstie Ross 17. Object in view: Nelson the Newfoundland's Dog Collar Martha Sear 18. The Last Snail: Loss, hope and care for the future Thom van Dooren 19. Object in view: Hiding in plain sight: Lessons from the Olinguito Nancy Simmons Part 3: Focusing on the Future 20. The Reef in Time: The prophecy of Charlie Veron's living collections Iain McCalman 21. Food Stories for the Future George Main 22. Shaping Garden Collections for Future Climates Sharon Willoughby 23. Object in view: A Past Future for the Cucumber Sharon Willoughby 24. The Art of the Anthropocene William L. Fox 25. Object in view: The Canary Project: Photographs and Fossils Ed Morris and Susannah Sayler Part 4: Representing Change and Uncertainty 26. Cameo: The Vulnerable Volvo Sverker Sorlin 27. Museum Awakenings: Responses to Environmental Change at the Swedish Museum of Natural History, 1965-2005 Ewa Bergdahl and Anders Houltz 28. Rising Seas: Facts, Fictions and Aquaria Susanna Lidstrom and Anna Aberg 29. Object in view: The Model of Flooded New York Edmund Mathez 30. When the Ice Breaks: The Arctic in the Media Miyase Christensen and Nina Wormbs 31. Displaying the Anthropocene in and beyond Museums Libby Robin, Dag Avango, Luke Keogh, Nina Mollers and Helmuth Trischler 32. Poem: Dear Matafele Peinem Kathy Jetnil-Kijiner.
  • (source: Nielsen Book Data)9781138658523 20161228
Curating the Future: Museums, Communities and Climate Change explores the way museums tackle the broad global issue of climate change. It explores the power of real objects and collections to stir hearts and minds, to engage communities affected by change. Museums work through exhibitions, events, and specific collection projects to reach different communities in different ways. The book emphasises the moral responsibilities of museums to address climate change, not just by communicating science but also by enabling people already affected by changes to find their own ways of living with global warming. There are museums of natural history, of art and of social history. The focus of this book is the museum communities, like those in the Pacific, who have to find new ways to express their culture in a new place. The book considers how collections in museums might help future generations stay in touch with their culture, even where they have left their place. It asks what should the people of the present be collecting for museums in a climate-changed future? The book is rich with practical museum experience and detailed projects, as well as critical and philosophical analyses about where a museum can intervene to speak to this great conundrum of our times. Curating the Future is essential reading for all those working in museums and grappling with how to talk about climate change. It also has academic applications in courses of museology and museum studies, cultural studies, heritage studies, digital humanities, design, anthropology, and environmental humanities.
(source: Nielsen Book Data)9781138658523 20161228
Art & Architecture Library (Bowes)
x, 265 pages, 8 pages of plates : illustrations (some color), maps ; 25 cm.
  • Introduction: The Early Modern Merchant as a Collector Christina M. Anderson Part I: Beginning to Collect 1. The Commissioning and Collecting of Portraits by Merchants in Sixteenth- and Early Seventeenth-Century England Tarnya Cooper 2. Portraits, Pearls and Things 'wch are very straunge to owres': The Lost Collections of the Thorne/Withypoll Trading Syndicate, 1520 - 1550 Heather Dalton Part II: Behaving as Collectors 3. Tea and Commerce: Japanese Merchants in the Sixteenth Century as Collectors and Creators Louise A. Cort 4. Gardening in Goa - Filippo Sassetti's Experiences with Indian Medicine and Plants Barbara Karl Part III: The Role of Provenance 5. Imperial Treasures in the Hands of a Ming Merchant: Xiang Yuanbian's Collection Amy C. Riggs 6. Considered Judgement and Prestigious Provenance: Bartolomeo della Nave's Acquisitions from the Collection of Pietro Bembo Susan Nalezyty Part IV: Collecting for a Specific Purpose 7. Boudewijn's Books: A Dutch Golden Age Merchant and his Library Henk Looijesteijn 8. Complementary Activities: Boschini, del Sera and Renieri as Merchants, Collectors and Painters in Seicento Venice Taryn Marie Zarrillo Part V: Dealers as Collectors 9. Between Collection and Stock. The Ambiguous Role of Merchants and Artisans in the Sixteenth-Century Roman Antiquities Market Barbara Furlotti 10. Merchants as Collectors and Art Dealers: The Cases of Daniel Nijs and Carlo Hellemans, Flemish Merchants in Venice Christina M. Anderson Part VI: Later Generations of Merchant Collectors 11. Brothers in Collecting: Thomas and Jacob Rehdiger - Two Sixteenth-Century Silesian Art Collectors and Bibliophiles Aleksandra Lipinska 12. Gaspard de Monconys, Provost-Marshal of the Merchants and Collector in Seventeenth-Century Lyon Anne-Lise Tropato Part VII: Merchants and Collecting in the Islamicate World 13. 'Ali Akbar's Red Horse - Collecting Arab Horses in the Early Modern Culture of Empire Elizabeth Lambourn.
  • (source: Nielsen Book Data)9781472469823 20170313
Early Modern Merchants as Collectors encourages the rethinking of collecting not as an elite, often aristocratic pursuit, but rather as a vital activity that has engaged many different groups within society. The essays included in this volume consider merchants not only as important collectors in their own right, as opposed to merely agents or middlemen, but also as innovators who determined taste. Through bringing together contributions on merchant collectors across a wide geographical spread, including England, The Netherlands, Venice, Moghul India, China and Japan, among other locations, it aims to challenge the often Eurocentric view of the study of collecting that has shaped the discipline to date. The early modern period and its Wunderkammern formed the subject of some of the earliest, foundational texts on collecting. This volume expands on such previous scholarship, taking a more in-depth look at a particular class of collectors and investigating their motivations, social and economic circumstances, and the intellectual ideas and purposes that informed their collecting. It offers a fresh approach to the understanding of the role of merchants in early modern societies and will serve as a resource to historians of art, science, museums, culture and economics, as well as to scholars of transcultural studies.
(source: Nielsen Book Data)9781472469823 20170313
Art & Architecture Library (Bowes)
264 pages : illustrations (some color), charts ; 24 cm.
  • Prologue. Érudits, collectionneurs, amateurs (XVIe-XIXe siècle) -- La culture comme appartenance sociale -- Les identités multiples de l'érudit -- Ludovico Beccadelli. Identité ecclésiastique et identité municipale chez un prélat bolonais du XVIe siècle -- À Florence, "lettrés" et "académiciens". Sociabilités intellectuelles et identité urbaine au XVIIe siècle -- L'affirmation d'un amateur aristocrate entre Rome et la République des Lettres. Alessandro Gregorio Capponi et ses collections -- Collectionner -- Être ou connaître ? -- Collections et collectionneurs en France à l'époque moderne. Problèmes et méthode -- Publier sa collection. Une stratégie de distinction des princes de Monaco au siècle des Lumières -- Les curiosités d'Esprit Calvet -- Les collectionneurs et érudits marseillais de la fin du XVIIIe siècle et la découverte du patrimoine de leur ville -- Joseph de Cadolle (1812-1887). Itinéraire méconnu d'un amateur d'art montpelliérain du XIXe siècle -- Le savoir au service du public -- L'État et les intermédiaires privés -- Collections d'antiquités, marché, identité nationale. Naples et la France à la fin du XVIIIe siècle -- Des usages d'une collection publique à la fin du XVIIIe siècle (Dijon, 1776-1791) -- Collection et sociabilité à l'aube des nationalités. Les débuts du Cabinet Vieusseux à Florence -- Un "amateur montpelliérain". Xavier Atger (1758-1833), du collectionneur au mécène -- Les multiples talents de M. Fontane! -- "Je vis M. Fabre au milieu de son musée...".
"Dans la filiation d'une historiographie féconde depuis trente ans, éclairant la collection par la médiation des pratiques pratiques savantes, sociales, économiques -, notre ouvrage se propose d'explorer une autre voie: la manière dont les expériences de l'objet d'art ou de connaissance, choisi, rassemblé, agencé, classé, étudié, participent à l'affirmation de soi et à l'émergence d'identités partagées, familiales, urbaines ou régionales. On cherchera ainsi à comprendre ce que l'expérience des objets dit de l'adhésion de l'individu à un certain nombre d'exigences sociales, et ce qu'elle dit d'aspirations exprimées ou refoulées, pas forcément congruentes aux rôles assignés. Au fil de quatorze études de cas, nous avons voulu mettre l'accent sur les tensions et les ambivalences, plus que sur les réussites. Le choix d'un temps long, du XVIe au XIXe siècle, privilégiant le XVIIIe siècle, donne à voir les différents types sociaux associés à l'étude et à la collection des objets. Le choix d'un ancrage méditerranéen, nous conduisant de la France méridionale - entre Toulouse et Monaco - à l'Italie n'a pas vocation à affirmer une spécificité méridionale de la collection. Il permet de construire, dans la cohérence d'un espace, une galerie de portraits, permettant de suivre in situ les processus de la collection à l'oeuvre."--Page 4 of cover.
SAL1&2 (on-campus shelving)
199 pages : illustrations ; 21 cm.
Art & Architecture Library (Bowes)
xxii, 499 pages : illustrations ; 24 cm
  • 1 Introduction. Global Mobilities. Part I: Frameworks: Theory, Practice, and Policy 2 Museums, Refugees, and Collaborative Social Transformation. 3 European Museums in an Age of Migrations: Twelve Propositions for Twenty-First Century Museums. Part II: Histories of exiles, refugees, and expatriates 4 Forgotten by History: Refugees, Historians, and Museums in Britain. 5 Exhibiting Fraught Histories of Migrations: Museums in Elmina, Ghana. 6 Migration Histories, the Past, and the Politics of Memory at Robben Island. 7 "A Safeguard Against Oblivion": Memorializing French Algeria in the Centre de Documentation des Francais d'Algerie. Part III: Museums Interpret Emigration and Immigration 8 Polish History, the Polish Diaspora, and the Emigration Museum in Gdynia. 9 The Polish Museum of America: Shaping Cultural Identity. 10 Displaying the Diversity of Community History at Hackney Museum. 11 Restoring and Utilizing the Past: The Shanghai Jewish Refugees Museum. 12 Visitors' Opinions on the Inclusion of Migrants in Museum Exhibitions: Migrant and Non-Migrant Communities in Greece. 13 Occupying the Immigration Museum: The Sans Papiers of Paris at the Site of Their National Representation. 14 Longing and Belonging: The Representation of Immigrant Communities in Canadian Museums. 15 Settling In: Cross-Cultural Engagement at the Oregon Jewish Museum. Part V: Archives, Digital Collections, and Libraries. 16 Expanding the Boundaries of History: The Expatriate Archive Centre. 17 Beyond Museums: Multicultural Material Heritage Archives in Australia. 18 "Photo Seeks Family": Digitization, Visual Repatriation, and Performative Memory Work. 19 Libraries and Museums in Norway: Promoting Integration in the Land of Gender Equality. Part VI: Case Studies 20 The "Isle of Home" is Always on Your Mind: Subjectivity and Space at Ellis Island Museum. 21 Residues of Border Control. 22. California Modernism, European Emigre Artists, and the Summer Sessions at Mills College in Oakland, California. 23 Thank You for Coming: Notes on Labels, Language, and Living a Life. 24 "I Will Freely Circulate in the Intermediate Space": Cahun and Moore's Resistance to Gender and National Boundaries. 25 Conclusion: Tomorrow's Heritage of Migration.
  • (source: Nielsen Book Data)9781138906327 20170515
Global Mobilities illustrates the significant engagement of museums and archives with populations that have experienced forced or willing migration: emigrants, exiles, refugees, asylum seekers, and others. The volume explores the role of public institutions in the politics of integration and cultural diversity, analyzing their efforts to further the inclusion of racial and ethnic minority populations. Emphasizing the importance of cross-cultural knowledge and exchange, global case studies examine the conflicts inherent in such efforts, considering key issues such as whether to focus on origins or destinations, as well as whether assimilation, integration, or an entirely new model would be the most effective approach. This collection provides an insight into diverse perspectives, not only of museum practitioners and scholars, but also the voices of artists, visitors, undocumented immigrants, and other members of source communities. Global Mobilities is an often provocative and thought-inspiring resource which offers a comprehensive overview of the field for those interested in understanding its complexities.
(source: Nielsen Book Data)9781138906327 20170515
Art & Architecture Library (Bowes)
vii, 217 pages : illustrations, maps ; 21 cm
East Asia Library
viii, 408 pages : illustrations ; 25 cm
  • Introduction : Explore
  • Part I. Collect : Why collect?
  • Collectable
  • Acquisitions
  • In the field
  • Who collects?
  • Part II. Preserve : Into the storeroom
  • Paperwork
  • The ethics of objects
  • Part III. Display : Objects, stories and visitors
  • Objects on display
  • Organizations and juxtapositions
  • Explanations and encounters
  • Setting the scene
  • Turned inside out: visible storage
  • Part IV. Use: What use is a museum?
  • Museums make communities
  • Learning from things
  • Teaching with things
  • The promise of museums
  • Coda: Consider.
Museum lovers know that energy and mystery run through every exhibition. Steven Lubar explains work behind the scenes-collecting, preserving, displaying, and using art and artifacts in teaching, research, and community-building-through historical and contemporary examples, especially the lost but reimagined Jenks Museum at Brown University.
(source: Nielsen Book Data)9780674971042 20180226
Green Library
AMSTUD-134-01, ARCHLGY-134-01, ARCHLGY-234-01, ARTHIST-284B-01, CSRE-134-01, EDUC-214-01, NATIVEAM-134-01
144 pages : illustrations ; 21 cm
SAL3 (off-campus storage)
345 pages : illustrations (some color) ; 21 cm.
  • Grusswort / Gerald Bast
  • Vorwort der Herausgeber*innen / Natalie Bayer, Belinda Kazeem-Kaminski und Nora Sternfeld
  • Wo ist hier die Contact-Zone?! Eine Konversation / Natalie Bayer, Belinda Kazeem-Kaminski und Nora Sternfeld
  • Don't get over it, if you are not over it : Handeln Statt Repräsentieren
  • Über das Reparieren hinaus : eine antirassistische Praxeologie des Kuratierens / Natalie Bayer und Mark Terkessidis
  • Unearthing : in conversation / Belinda Kazeem-Kamiński
  • Wir sind zwar für Promiskuität, aber wir sind hier nicht im Motel : Antirassistische kuratorische Strategien, von den Rändern zum Zentrum / Christopher Wessels, Marianne Niemelä und Ahmed Al-Nawas
  • Die ganze Welt in Zürich : Kollaborative und transformative Strategien der Verhandlung von "Stadtbürger*innenschaft" / Katharina Morawek
  • Strategien der Intervention : uneingeladenes Widersprechen
  • Anmerkungen zum allgemeinen Recht auf Bafflement / Jelena Vesić
  • Widerstand kuratieren : Politische Interventionen in eine elitäre, hegemoniale Kulturlandschaft / Sandrine Micossé-Aikins und Bahareh Sharifi
  • Valkeat / Minna Henriksson
  • Anrufungen : widerständig bleiben
  • Unf̕nished Conversation / Nuray Demir und Nanna
  • Heidenreich im Gespräch über mögliche Strategien gegen den Exotismus in der (bildenden) Kunst, die Ordnung der Un_Dinge und eine Postidentiät, die nicht machtblind ist
  • Anti*Colonial fantasies, decolonial Strategies : a conversation / Imayna Caceres, Sunanda Mesquita und Sophie Utikal
  • Karthasis, Heilung und Kampf : die Sprache des antirassistischen Körpers / Kemi Bassene
  • A(r)mando Vo(i)ces / Verena Melgarejo Weinandt
  • Aneignungen : trotzdem weitermachen
  • How do black lives matter in der Sammlung des MoMA? Oder : Welche Bedeutung haben Schwarze Leben in der MoMA-Sammlung? / Thomas J. Lax
  • Silvina der-Meguerditchian made in Turkey II und Fluchtteppich, 2000-2005 / Anmerkungen von Natalie Bayer
  • On est ensemble et Ça va waka : Einige Gedanken zur Navigation in der Xenopolis / Bonaventure Soh Bejeng Ndikung
  • Warum überhaupt ausstellen? Eine Antwort aus dem Jahr 2030 / Nora Sternfeld
  • Welcome to the Formaldehyde Trip / Naomi Rincón Gallardo
  • Biograf̕en
  • Impressum.
SAL3 (off-campus storage)