By learning how to rightsize, you will ensure that both the collection and your institution's available physical spaces meet the needs of your library's users.
The first English-language account of Ivan Morozov and his
ambition to build one of the world's greatest collections of modern
art A wealthy Moscow textile merchant, Morozov started
buying art in a ...modest way in 1900 until, on a trip to Paris, he
developed a taste for the avant-garde. Meticulous and highly
discerning, he acquired works by the likes of Monet, Pissarro, and
Cezanne. Unlike his friendly rival Sergei Shchukin, he collected
Russian as well as European art. Altogether he spent 1.5 million
francs on 486 paintings and 30 sculptures-more than any other
collector of the age. Natalya Semenova traces Morozov's life,
family, and achievements, and sheds light on the interconnected
worlds of European and Russian art at the turn of the century.
Morozov always intended to leave his art to the state-but with the
Revolution in 1917 he found himself appointed "assistant curator"
to his own collection. He fled Russia and his collection was later
divided between Moscow and St. Petersburg, only to languish in
storage for decades. Morozov: The Story of a Family and a Lost
Collection is being published to coincide with "The Morozov
Collection" exhibition at the Fondation Louis Vuitton, Paris, in
October 2020.
Possessors and Possessedanalyzes how and why museums-characteristically Western institutions-emerged in the late-nineteenth-century Ottoman Empire. Shaw argues that, rather than directly emulating ...post-Enlightenment museums of Western Europe, Ottoman elites produced categories of collection and modes of display appropriate to framing a new identity for the empire in the modern era. In contrast to late-nineteenth-century Euro-American museums, which utilized organizational schema based on positivist notions of progress to organize exhibits of fine arts, Ottoman museums featured military spoils and antiquities long before they turned to the "Islamic" collections with which they might have been more readily associated. The development of these various modes of collection reflected shifting moments in Ottoman identity production. Shaw shows how Ottoman museums were able to use collection and exhibition as devices with which to weave counter-colonial narratives of identity for the Ottoman Empire. Impressive for both the scope and the depth of its research,Possessors and Possessedlays the groundwork for future inquiries into the development of museums outside of the Euro-American milieu.
This edited volume critically engages with contemporary scholarship on museums and their engagement with the communities they purport to serve and represent. Foregrounding new curatorial strategies, ...it addresses a significant gap in the available literature, exploring some of the complex issues arising from recent approaches to collaboration between museums and their communities. The book unpacks taken-for-granted notions such as scholarship, community, participation and collaboration, which can gloss over the complexity of identities and lead to tokenistic claims of inclusion by museums. Over sixteen chapters, well-respected authors from the US, Australia and Europe offer a timely critique to address what happens when museums put community-minded principles into practice, challenging readers to move beyond shallow notions of political correctness that ignore vital difference in this contested field. Contributors address a wide range of key issues, asking pertinent questions such as how museums negotiate the complexities of integrating collaboration when the target community is a living, fluid, changeable mass of people with their own agendas and agency. When is engagement real as opposed to symbolic, who benefits from and who drives initiatives? What particular challenges and benefits do artist collaborations bring? Recognising the multiple perspectives of community participants is one thing, but how can museums incorporate this successfully into exhibition practice? Students of museum and cultural studies, practitioners and everyone who cares about museums around the world will find this volume essential reading.
In this anthology, top scholars researching libraries, archives, and museums (LAM) issues in Scandinavia explore pressing issues for contemporary LAMs.In recent decades, relations between libraries, ...archives, and museums have changed rapidly: collections have been digitized; books, documents, and objects have been mixed in new ways; and LAMs have picked up new tasks in response to external changes. Libraries now host makerspaces and literary workshops, archives fight climate change and support indigenous people, and museums are used as instruments for economic growth and urban planning. At first glance, the described changes may appear as a divergent development, where the LAMs are growing apart. However, this book demonstrates that the present transformation of LAMs is primarily a convergent development.Libraries, Archives, and Museums in Transition will be essential reading for students, scholars, and practitioners seeking to get on top of the LAM literature or the particularities of Scandinavian LAMs.
Packed with discussion questions, activities, suggested references, selected readings, and many other features that speak directly to students and library professionals, Gregory's Collection ...Development and Management for 21st Century Library Collections is a comprehensive handbook.
The purpose of this book is to explore the ways in which the London Underground/ Tube was ‘mapped’ by a number of writers from George Gissing to Virginia Woolf. From late Victorian London to the end ...of the World War II, ‘underground writing’ created an imaginative world beneath the streets of London. The real subterranean railway was therefore re-enacted in number of ways in writing, including as Dantean Underworld or hell, as gateway to a utopian future, as psychological looking- glass or as place of safety and security.
The book is a chronological study from the opening of the first underground in the 1860s to its role in WW2. Each chapter explores perspectives on the underground in a number of writers, starting with George Gissing in the 1880s, moving through the work of H. G. Wells and into the writing of the 1920s & 1930s including Virginia Woolf and George Orwell. It concludes with its portrayal in the fiction, poetry and art (including Henry Moore) of WW2.
The approach takes a broadly cultural studies perspective, crossing the boundaries of transport history, literature and London/ urban studies. It draws mainly on fiction but also uses poetry, art, journals, postcards and posters to illustrate. It links the actual underground trains, tracks and stations to the metaphorical world of ‘underground writing’ and places the writing in a social/ political context.
Our Indigenous Ancestors complicates the history of the erasure of native cultures and the perceived domination of white, European heritage in Argentina through a study of anthropology museums in the ...late nineteenth and early twentieth centuries. Carolyne Larson demonstrates how scientists, collectors, the press, and the public engaged with Argentina’s native American artifacts and remains (and sometimes living peoples) in the process of constructing an “authentic” national heritage. She explores the founding and functioning of three museums in Argentina, as well as the origins and consolidation of Argentine archaeology and the professional lives of a handful of dynamic curators and archaeologists, using these institutions and individuals as a window onto nation building, modernization, urban-rural tensions, and problems of race and ethnicity in turn-of-the-century Argentina. Museums and archaeology, she argues, allowed Argentine elites to build a modern national identity distinct from the country’s indigenous past, even as it rested on a celebrated, extinct version of that past. As Larson shows, contrary to widespread belief, elements of Argentina’s native American past were reshaped and integrated into the construction of Argentine national identity as white and European at the turn of the century. Our Indigenous Ancestors provides a unique look at the folklore movement, nation building, science, institutional change, and the divide between elite, scientific, and popular culture in Argentina and the Americas at a time of rapid, sweeping changes in Latin American culture and society.
Heritage work has had a uniquely wide currency in Africa's politics. Secure within the pages of books, encoded in legal statutes, encased in glass display cases and enacted in the panoply of court ...ritual, the artefacts produced by the heritage domain have become a resource for government administration, a library for traditionalists and a marketable source of value for cultural entrepreneurs. The Politics of Heritage in Africa draws together disparate fields of study - history, archaeology, linguistics, the performing arts and cinema - to show how the lifeways of the past were made into capital, a store of authentic knowledge that political and cultural entrepreneurs could draw from. This book shows African heritage to be a mode of political organisation, a means by which the relics of the past are shored up, reconstructed and revalued as commodities, as tradition, as morality or as patrimony.
Nature and culture Alberti, Samuel J. M. M
2017, 2017., 20171001, 2009, 2017-10-03
eBook
Nature and Culture asks how objects were collected and displayed in the twentieth century. It explores natural and cultural objects in the Manchester Museum, a major university collection. How did ...these specimens come to be there? What happened to them in the collection, and who used them?
