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63 pages : color illustrations, color maps ; 30 cm.
SAL3 (off-campus storage)
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)
276 pages : chiefly color illustrations, color maps ; 24 cm.
  • Preface : Opening Vectors
  • How to read this book
  • 1. Designing for difference
  • Into the fray
  • Modularity at midcentury : thinking race + UNIX
  • Situating UNIX
  • Modularity in the social field + the database
  • Moving beyond our boxes + mapping materialisms
  • WINDOW 1 : introducing Vectors
  • 2. Assembling scholarship : from Vectors to Scalar
  • On process
  • WINDOW 2 : the look + feel of Vectors
  • WINDOW 3 : making "stolen time"
  • Reimaging content and form
  • WINDOW 4 : various vectors
  • Scaling Vectors
  • WINDOW 5 : the Scalar feature set and showcase
  • Outro : Scholarship in the wild.
Tara McPherson asks what might it mean to design-from conception-digital tools and applications that emerge from contextual concerns of cultural theory and from a feminist concern for difference. This question leads to the Vectors lab, which for a dozen years has experimented with digital scholarship at the intersection of theory and praxis.
(source: Nielsen Book Data)9780674728943 20180219
Green Library
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)
333 pages : illustrations, maps ; 30 cm.
SAL1&2 (on-campus shelving)
356 p. ; 22 cm
SAL3 (off-campus storage)
x, 254 pages ; 24 cm.
  • UNESCO's humanism : the challenge of "unity in diversity"
  • UNESCO's early years : human rights, high hopes and harsh realities
  • Éducation permanente and the "crisis of education"
  • Learning to be : the Faure report
  • The Delors report and the 1990s
  • The struggle of ideologies.
With a focus on lifelong learning, this book examines the shifts that UNESCO's educational concepts have undergone in reaction to historical pressures and dilemmas since the founding of the organization in 1945. The tensions between UNESCO's humanistic worldview and the pressures placed on the organization have forced UNESCO to depart from its utopian vision of lifelong learning, while still claiming continuity. Elfert interprets the history of lifelong learning in UNESCO as part of a much bigger story of a struggle of ideologies between a humanistic-emancipatory and an economistic-technocratic worldview. With a close study of UNESCO's two education flagship reports, the Faure and Delors reports, Elfert sheds light on the global impact of UNESCO's professed humanistic goals and its shifting influence on lifelong learning around the world.
(source: Nielsen Book Data)9781138242524 20171218
SAL3 (off-campus storage)
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)
390 pages : illustrations, charts ; 22 cm
  • Préface / Annick Lempérière -- Sigles et abréviations -- Introduction -- Acteurs, réseaux, institutionnalité -- De la fondation de l'académie à la sphère culturelle brésilienne pendant la dictature militaire -- L'institutionnalisation du métier d'écrivain -- La fondation de l'ABL (1889-1898) -- Les échecs initiaux -- Le groupe de la Revista Brazileira et la création de I'ABL -- Les premières années (1898-1924) : construction d'une identité et d'un mode de vie -- De la détresse à la gloire -- La conquête de prestige et la reconnaissance de l'État -- L'univers académique -- L'exclusion du politique ou l'illusion de l'apolitisme -- Intellectuels et institutions culturelles sous la dictature militaire (1964-1979) -- La gauche culturelle des années soixante -- Une culture de gauche engagée -- L'émergence des universitaires -- La "structure culturelle conservatrice" : ABL, IHGB et CFC -- L'IHGB, "gardien de l'histoire nationale" -- Le CFC et la politique culturelle de la dictature militaire -- Réseaux, trajectoires et profils des académiciens -- Acteurs et itinéraires -- Des origines oligarchiques -- Un "académicien moyen" : Osvaldo Orico -- L'éducation de l'élite : le Colégio Pedro II -- Premières rencontres : les facultés de droit -- L'événement fondateur : le modernisme et la Semaine d'art moderne de 1922 -- L'élaboration d'une pensée moderne (1870-1922) -- L'impact de 1922. Mennotti Del Picchia et la "semaine révolutionnaire" -- Graça Aranha et l'esprit moderne -- Âges et générations -- Activités professionnelles et lieux de sociabilité -- Les journaux, salons du XXe siècle -- Journalisme, politique et élites culturelles -- Associations littéraires, instituts, académies, universités, sociétés, fondations et institutions culturelles -- Les intellectuels et la diplomatie : l'Itamaraty comme lieu de sociabilité -- Lettres et politique : un bilan -- Sociabilité et politique -- Dans les pratiques des "immortels" la vie quotidienne à l'ABL pendant la dictature -- Sociabilité, cordialité, hommages -- Les élections -- Réception de Gilberto Amado -- Réception d'Adonias Filho -- Réception d'Aurélio de Lyra Tavares -- Les élections de progressistes -- Les "visiteurs illustres" -- Les votes de condoléances -- La mémoire des héros de la nation et la symbolique du patriotisme -- Les gardiens de la mémoire -- José Bonifàcio de Andrada e Silva, patriarche de l'indépendance -- Dom Pedro Il, père de la culture brésilienne -- Autour du mythe Rui Barbosa :la fronde de Raimundo Magalhâes Junior -- Juarez Tàvora, le "vice-roi du Nord" -- Que faire de Vargas et de la révolution de 1930 9 -- Patriotisme et civisme à l'ABL -- Olavo Bilac, chantre du civisme brésilien -- Le drapeau national -- L'exaltation du service militaire -- L'engagement des immortels austregésilo de athayde -- Une trajectoire libérale -- Enfance et jeunesse -- Rio de Janeiro -- Les années 1920 -- La droitisation : UDN, ESG, ABL -- Le Centre Culturel du Brésil (Palàcio Austregésilo de Athayde) : histoire d'une donation -- Les académiciens à l'école supérieure de guerre -- L'École supérieure de guerre et la Doctrine de sécurité nationale
  • L'École supérieure de guerre -- La Doctrine de sécurité nationale -- Les académiciens, la politique, la culture -- Pedro Calmon et Josué Montello : optimisme et naissance du "sentiment national" -- La "gilbertisation" du Brésil : formation du peuple, métissage, cohésion et harmonie -- La psychologie de l'homme brésilien -- Autour de la "révolution" : les académiciens et leurs oeuvres politiques -- Miguel Reale, de la "révolution" à l'ouverture politique -- Itinéraire d'un juriste d'extrême-droite -- Droit, engagement intégraliste et premiers ouvrages -- De l'intégralisme au coup d'État -- Penser 1964 : la "révolution" et ses impératifs -- Ordre et sécurité dans la transition vers l'État de droit -- Le gouvernement Castelo Branco vu par Luis Viana Filho -- L'Acte institutionnel n° 2 -- La Constitution de 1967, la Loi sur la Presse et la Loi de Sécurité nationale -- Réception de l'oeuvre -- Les devoirs du citoyen -- Civisme et citoyenneté pendant la dictature -- La diffusion du civisme.
"Le but de cet ouvrage est d'étudier comment l'Académie brésilienne des lettres officiellement "apolitique" a pu être une instance de légitimation de la dictature militaire (1964-1979). L'histoire de l'ABL depuis sa fondation -notamment grâce au "profilage" familial, scolaire et professionnel de ses membres permet de comprendre son poids dans le champ culturel brésilien des années 1960 et 1970. "Structure culturelle conservatrice", l'ABL émane des oligarchies rurales et urbaines, latifondiaires et entrepreneuriales, comme lieu de sociabilité des élites de droite où s'élabore un discours conservateur. Les mondanités partagées et les visites officielles qu'échangent académiciens et officiers de l'Etat-Major et de l'École de guerre nourrissent la construction d'une mythologie de la Nation largement diffusée par les médias. Certains académiciens s'engagèrent personnellement en faveur du régime, non pas en entrant dans l'appareil d'Etat mais en revenant aux grandes interprétations du passé national, en particulier celles de Gilberto Freyre, inventant un pays imaginaire, multiracial et pacifique, hostile aux luttes sociales. S'il n'y a pas eu collaboration à proprement parler, il y a eu complicité. C'est ce comportement de l'ABL, en particulier ses degrés d'acceptation du régime et ses encouragements au civisme et au patriotisme, qui ont joué le premier rôle dans ce processus."--Page 4 of cover.
SAL1&2 (on-campus shelving)
171 pages ; 24 cm
SAL3 (off-campus storage)
136 pages : color illustrations ; 27 cm
Art & Architecture Library (Bowes)
29 pages ; 21 cm.
SAL1&2 (on-campus shelving)
xii, 235 pages : illustrations ; 21 cm
  • 1. Into the Laboratory 2. Labs/Projects/Products 3. Laboratory Space and Digital Communities 4. Transformed Practices, or, Re-engaging in the Humanities 5. Further Reading - Print/Web.
  • (source: Nielsen Book Data)9780415748827 20171023
This book provides an accessible introduction to, and overview of, the digital humanities, one of the fastest growing areas of literary studies. Lane takes a unique approach by focusing on the technologies and the new environment in which the digital humanities largely takes place: the digital laboratory. The book provides a brief history of DH, explores and explains the methodologies of past and current DH projects, and offers resources such as detailed case studies and bibliographies. Further, the focus on the digital laboratory space reveals affiliations with the types of research that have traditionally taken place in the sciences, as well as convergences with other fast-growing research spaces, namely innovation labs, fabrication labs, maker spaces, digital media labs, and change labs. The volume highlights the profound transformation of literary studies that is underway, one in which the adoption of powerful technology - and concomitantly being situated within a laboratory environment - is leading to an important re-engagement in the arts and humanities, and a renewed understanding of literary studies in the digital age, as well as a return to large-scale financial investment in humanistic research. It will be useful to students and teachers, as well as administrators and managers in charge of research infrastructure and funding decisions who need an accessible overview of this technological transformation in the humanities. Combining useful detail and an overview of the field, the book will offers accessible entry into this rapidly growing field.
(source: Nielsen Book Data)9780415748827 20171023
SAL1&2 (on-campus shelving)
xxviii, 127 pages : illustration ; 24 cm
  • Foreword Preface: Celebrating Intellectual Curiosity Introduction Chapter 1: The Importance and Context of All Scholarship and Research and a Microcosm of the Macrocosm Chapter 2: The Scholarship of Teaching Chapter 3: The Scholarship of Teaching-action research Chapter 4: Creative Art Chapter 5: Arts Based Research Chapter 6: The Scholarship of Service Chapter 7: Curriculum Development, Administration, Colleagueship Chapter 8: Scholarship of the Student Chapter 9: The Legacy and Ecology of Education Chapter 10: Establishing the Rationale and Grading Policies for Student Scholarship and Research Chapter 11: No Good Deed Goes Unpunished-- Virtue is its Own Reward: warnings and encouragement Conclusion Appendix-The New Carnegie Unit Bibliography About the Author.
  • (source: Nielsen Book Data)9781475835380 20170530
Celebrating Intellectual Curiosity: Kindergarten Through College Scholarship and Research broadens the perspective on academic pursuits. Curiosity needs to be cultivated at all school levels. All formats of scholarship and research contribute to increased human understanding. The criteria for evaluating different scholarly activity needs to be well matched with the respective format. Both Scientific and Artistic standards need to be considered for a deeper appreciation of intents and results. Grade school children would be well served by being schooled in the four traditional areas of university faculty evaluation: teaching-learning; scholarship; service; and colleagueship. The book uses vignettes and stories to establish the complexities and utility of varying forms of research. Criteria are identified that fit the respective approaches. The study looks at The Scholarship of Teaching; The Scholarship of Teaching as Action Research: Creative Artistry; Arts Based Research; The Scholarship of Service; Curriculum Development; The Scholarship of the Student. The complementary nature of the variety of scholarships reveals an underlying Ecology of Education that relies upon a great diversity in roles to maintain a healthy system.
(source: Nielsen Book Data)9781475835380 20170530
Education Library (Cubberley)
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)