Beyond their often beautiful exhibition halls, many museums contain vast, hidden spaces in which objects may be stored, conserved, or processed. Museums can also include unseen archives, study rooms, and libraries which are inaccessible to the public. This collection of essays focuses on this domain, an area that has hitherto received little attention. Divided into four sections, the book critically examines the physical space of museum storage areas, the fluctuating historical fortunes of exhibits, the growing phenomenon of publicly visible storage, and the politics of objects deemed worthy of collection but unsuitable for display. In doing so, it explores issues including the relationship between storage and canonization, the politics of collecting, the use of museum storage as a form of censorship, the architectural character of storage space, and the economic and epistemic value of museum objects. Essay contributions come from a broad combination of museum directors, curators, archaeologists, historians, and other academics.
In recent years, many museums have implemented sweeping changes in how they engage audiences. However, changes to the field’s approaches to collections stewardship have come much more slowly. Active Collections critically examines existing approaches to museum collections and explores practical, yet radical, ways that museums can better manage their collections to actively advance their missions. Approaching the question of modern museum collection stewardship from a position of "tough love," the authors argue that the museum field risks being constrained by rigid ways of thinking about objects. Examining the field’s relationship to objects, artifacts, and specimens, the volume explores the question of stewardship through the dissection of a broad range of issues, including questions of "quality over quantity," emotional attachment, dispassionate cataloging, and cognitive biases in curatorship. The essays look to insights from fields as diverse as forest management, library science, and the psychology of compulsive hoarding, to inform and innovate collection practices. Essay contributions come from both experienced museum professionals and scholars from disciplines as diverse as psychology, education, and history. The result is a critical exploration that makes the book essential reading for museum professionals, as well as those in training.
Museums and the History of Computing examines the critical role that cultural organizations, such as museums and galleries, play in shaping ‘digital heritage’: the cultural heritage surrounding computer technology. Focusing on digital technologies as objects and practices that museums collect, exhibit, and preserve for the future, this book highlights how and why museums play a crucial role in preserving the rich heritage of the digital world, constructing powerful narratives that help make it relevant to the public. It demonstrates that the museum can be a powerful means of safeguarding and interpreting ephemeral and continually changing digital technology, offering new pathways for rethinking the very meaning of digital objects and practices in contemporary societies. It provides practices and strategies for the preservation and exhibition of computing artifacts and ways to accommodate and respond to narratives about histories of computing that circulate in the public arena. Bringing together leading museum and university researchers and practitioners, and mobilizing cross-cutting debates and approaches in areas such as museum studies, cultural heritage, history of technology, anthropology, and media studies, this book challenges us to think critically about what ‘digital’ is when examined not only as a tool but as a cultural object deserving of attention and a place within the museum. Museums and the History of Computing is for museum studies students and researchers as well as museum practitioners – especially those with an interest in digital technology and heritage. It will be of interest to researchers and students interested in histories of computing and digital media and in digital media studies.
With contributions from academics and museum professionals, this edited volume explores the role of enthusiasm, creativity, and affection in the stewardship of "unloved" or under-appreciated museum collections and archives.
The Metropolitan Museum of Art houses one of the world’s largest and most comprehensive collections of works of art from antiquities to modern and contemporary material. Their preservation is a responsibility shared by the many individuals employed at the Museum who oversee and have direct contact with the collection on a daily basis. The Care and Handing of Art Objects—first published in the 1940s and continually updated—offers a guide to the best practices in handling and preserving works of art while on display, in storage and in transit. It explains many of the fundamental principles of conservation that underlie these methods. One of its goals is to make the complexities of caring for a collection readily accessible. The first part offers basic guidelines for the preservation of the diverse types of materials and art objects found in the Met. Each chapter addresses the physical characteristics specific to the particular category, and the environmental, handling and housing factors to which one should be alert to prevent damage and ensure their preservation. Written by experts in the respective specialty, it addresses the Museum’s vast holdings summarizing the most critical preservation issues, many of which are amplified by photographs. As the table of contents makes evident these range from paintings on canvas and works on paper and photographs to furniture and objects made of stone, wood and metals to arms and armor, upholstery, ethnographic materials and many others. Part II succinctly describes factors that affect the collection as a whole: among them, current environmental standards for temperature, relative humidity, light exposure, storage and art in transit. Based on Museum protocols it addresses emergency preparedness and response, and integrated pest management. For easy reference, it includes charts on storage and display conditions, on factors contributing to deterioration, and a glossary of conservation terms, principles, and housing materials referenced in the individual chapters. Drawing upon the knowledge of conservators, scientists, and curators from many different departments, as well as technicians and engineers whose expertise crosses boundaries of culture, chronology, medium and condition, The Care and Handing of Art Objects is primarily directed to staff at the Met. It is, no less, an invaluable resource for students, collectors, small museums, museum study programs, art dealers, and members of the public who want to enhance their understanding of how works of art are safeguarded and the role environment, handling and materials play in making this possible.
Curators make many decisions when they build collections or design exhibitions, plotting a passage of discovery that also tells an essential story. Collecting captures the past in a way useful to the present and the future. Exhibits play to our senses and orchestrate our impressions, balancing presentation and preservation, information and emotion. Curators consider visitors’ interactions with objects and with one another, how our bodies move through displays, how our eyes grasp objects, how we learn and how we feel. Inside the Lost Museum documents the work museums do and suggests ways these institutions can enrich the educational and aesthetic experience of their visitors. Woven throughout Inside the Lost Museum is the story of the Jenks Museum at Brown University, a nineteenth-century display of natural history, anthropology, and curiosities that disappeared a century ago. The Jenks Museum’s past, and a recent effort by artist Mark Dion, Steven Lubar, and their students to reimagine it as art and history, serve as a framework for exploring the long record of museums’ usefulness and service. Museum lovers know that energy and mystery run through every collection and exhibition. 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. Inside the Lost Museum speaks to the hunt, the find, and the reveal that make curating and visiting exhibitions and using collections such a rewarding and vital pursuit.
The Stammheim Missal is one of the most visually dazzling and theologically ambitious works of German Romanesque art. Containing the text recited by the priest and the chants sung by the choir at mass, the manuscript was produced in Lower Saxony around 1160 at Saint Michael's Abbey at Hildesheim, a celebrated abbey in medieval Germany. This informative volume features color illustrations of all the manuscript's major decorations. The author surveys the manuscript, its illuminations, and the circumstances surrounding its creation, then explores the tradition of the illumination of mass books and the representation of Jewish scriptures in Christian art. Teviotdale then considers the iconography of the manuscript's illuminations, identifies and translates many of its numerous Latin inscriptions, and finally considers the missal and its visually sophisticated and religiously complex miniatures as a whole.
A New Role for Museum Educators shows how learning happens in communities, how volunteers and professionals approach their work, the underlying principles and philosophies that guide the work of museum education, and how these practices are always evolving to remain relevant. Museum education in its most expansive definition is about communicating messages, creating learning experiences, and, at its most aspirational, promoting human development for people of all backgrounds, abilities, and circumstances. This edited volume revisits the legacy of museum education practices, reflecting on the changing context of community and the role of cultural institutions, and provides insights into new directions that museums can take with a visitor-centered mindset. It provides foundational concepts around educational philosophies that guide practice, applied methods and approaches for implementation, and the ethos of an educational institution intended to support community learning and engagement that are essential to provide for the wide-ranging needs of all audiences. International perspectives from a variety of museums are considered, including art museums, children’s museums, history museums and historic sites, science museums, botanical gardens, zoos, and aquariums. Chapters include thought-provoking reflections on contemporary practices, concrete examples from across the globe, and useful tools for anyone working with public audiences. Grounded in practice and informed by research, this volume will be a go-to resource for arts and cultural organization practitioners, particularly those working in Museum Education. It will also be essential reading for students of Museum Studies, Education, and related fields
The internationally focused Dictionary of Museology reflects the diversity of cultural and disciplinary approaches to theory and practice in the museum field today. The museum world is changing rapidly, and the characteristics and social roles of the world’s approximately 100,000 existing museums are constantly evolving. In addition to their traditional functions of preservation, research and communication, museums are increasingly addressing issues related to social inclusion, human rights, sustainable development and finances, all of which are explored in this dictionary. Drawing on the support of an international editorial committee, including influential figures from the US, Canada, Brazil, Japan, Spain, Germany, France and the UK, this collaborative work produced by over 100 researchers from around the world provides an overview of this unique field by defining over 1,000 terms relating to museology. The Dictionary of Museology is intended for a broad spectrum of museum professionals, academics, researchers and students. The book will be especially useful to those working with international partners, since a common lexicon that conveys the complex reality of current social and cultural values is particularly vital for those working across borders.
