Museumswissenschaft, Museumsanalyse, Museumsgeschichte, Museumstheorien ... – neben Bezeichnungen wie Museologie und Museumskunde haben in den letzten Jahren Komposita Verwendung gefunden, die vor allem eines vor Augen führen: das zunehmende wissenschaftliche Interesse an Museen. Bis heute kehrt dabei das Argument stets wieder, dass die Institution maßgeblicher Schauplatz nationaler Identitätsbildung gewesen sei. Der Band rückt hingegen das Museum als Produkt grenzüberschreitender Austausch- und Transferprozesse von circa 1750 bis 1940 in den Mittelpunkt.
Surveying over thirty different positions in the museum profession, this is the essential guide for anyone considering entering the field, or a career change within it. From exhibition designer to shop manager, this comprehensive survey views the latest trends in museum work and the broad-ranging technological advances that have been made. For any professional in the field, this is a crucially useful book for how to prepare, look for and find jobs in the museum profession.
There are about 300 archaeological open-air museums in Europe, which do more than simply present (re)constructed outdoor sceneries based on archaeology. They have an important role as education facilities and many showcase archaeology in a variety of ways. This research assesses the value of archaeological open-air museums, their management and their visitors, and is the first to do so in such breadth and detail. After a literature study and general data collection among 199 of such museums in Europe, eight archaeological open-air museums from different countries were selected as case studies. Management and visitors have different perspectives leading to different priorities and appreciation levels. The studies conclude with recommendations, ideas and strategies which are applicable not just to the eight archaeological open-air museums under study, but to any such museum in general. The recommendations are divided into the six categories of management, staff, collections, marketing, interpretation and the visitors.
"Friendship, loss and the everyday populate Packer's canvases, full of disquieting detail." -Adrian Searle, The Guardian Through a uniquely textural style of oil painting that evokes the fluidity of watercolors, Jennifer Packer recasts classical genres in a fresh political and contemporary light while keeping them rooted in a deeply personal context. Combining observation, improvisation and memory, Packer's intimate portraits of friends and family members and flower paintings insist on the particularity of the Black lives she depicts. The title of this volume refers to an ecclesiastical description of the insatiable human quest for divine knowledge; with this in mind, Packer's work urges viewers to understand and appreciate the unique dimensions of Black lives beyond just the physical. Richly illustrated, this volume includes texts by fellow painters Dona Nelson and Lynette Yiadom-Boakye, professors Rizvana Bradley and Christina Sharpe, and an interview between the artist and Serpentine Artistic Director Hans Ulrich Obrist. American painter Jennifer Packer(born 1984) grew up in Philadelphia and received her MFA from Yale University in 2012. She was formerly the Artist-in-Residence at the Studio Museum in Harlem (2012-13) and a Visual Arts Fellow at the Fine Arts Work Center in Provincetown, MA (2014-16). She currently works as an assistant professor of painting at the Rhode Island School of Design. Packer is represented by Sikkema Jenkins & Co in New York City, where the artist lives.
This handsome volume documents the temporary installation of The Frick Collection in its temporary home, with stunning photographs by Joseph Coscia Jr. and a reflective foreword by Roxane Gay.
The Explosive National Bestseller A memoir by the highest-ranking covert warrior to lift the veil of secrecy and offer a glimpse into the shadow wars that America has fought since the Vietnam Era. Enrique Prado found himself in his first firefight at age seven. The son of a middle-class Cuban family caught in the midst of the Castro Revolution, his family fled their war-torn home for the hope of a better life in America. Fifty years later, the Cuban refugee retired from the Central Intelligence Agency as the CIA equivalent of a two-star general. Black Ops is the story of Ric’s legendary career that spanned two eras, the Cold War and the Age of Terrorism. Operating in the shadows, Ric and his fellow CIA officers fought a little-seen and virtually unknown war to keep USA safe from those who would do it harm. After duty stations in Central, South America, and the Philippines, Black Ops follows Ric into the highest echelons of the CIA’s headquarters at Langley, Virginia. In late 1995, he became Deputy Chief of Station and co-founding member of the Bin Laden Task Force. Three years later, after serving as head of Korean Operations, Ric took on one of the most dangerous missions of his career: to re-establish a once-abandoned CIA station inside a hostile nation long since considered a front line of the fight against Islamic terrorism. He and his team carried out covert operations and developed assets that proved pivotal in the coming War on Terror. A harrowing memoir of life in the shadowy world of assassins, terrorists, spies and revolutionaries, Black Ops is a testament to the courage, creativity and dedication of the Agency’s Special Activities Group and its elite shadow warriors.
Presenting the latest iteration of this crucial exhibition, always a barometer of contemporary American art The 2022 Whitney Biennial is accompanied by this landmark volume. Each of the Biennial's participants is represented by a selected exhibition history, a bibliography, and imagery complemented by a personal statement or interview that foregrounds the artist's own voice. Essays by the curators and other contributors elucidate themes of the exhibition and discuss the participants. The 2022 Biennial's two curators, David Breslin and Adrienne Edwards, are known for their close collaboration with living artists. Coming after several years of seismic upheaval in and beyond the cultural, social, and political landscapes, this catalogue will offer a new take on the storied institution of the Biennial while continuing to serve--as previous editions have--as an invaluable resource on present-day trends in contemporary art in the United States.
Texas Historical Commission Award of Excellence in Media Achievement, Texas Historical Commission In 1980, David Dillon launched his career as an architectural critic with a provocative article that asked “Why Is Dallas Architecture So Bad?” Over the next quarter century, he offered readers of the Dallas Morning News a vision of how good architecture and planning could improve quality of life, combatting the negative effects of urban sprawl, civic fragmentation, and rapacious real estate development typical in Texas cities. The Open-Ended City gathers more than sixty key articles that helped establish Dillon’s national reputation as a witty and acerbic critic, showing readers why architecture matters and how it can enrich their lives. Kathryn E. Holliday discusses how Dillon connected culture, commerce, history, and public life in ways that few columnists and reporters ever get the opportunity to do. The articles she includes touch on major themes that animated Dillon’s writing: downtown redevelopment, suburban sprawl, arts and culture, historic preservation, and the necessity of aesthetic quality in architecture as a baseline for thriving communities. While the specifics of these articles will resonate with those who care about Dallas, Fort Worth, and other Texas cities, they are also deeply relevant to all architects, urbanists, and citizens who engage in the public life and planning of cities. As a collection, The Open-Ended City persuasively demonstrates how a discerning critic helped to shape a landmark city by shaping the conversation about its architecture.
