Art History

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This volume offers the first full study of archaeological fabrics and their decoration found in the North Atlantic region and dating broadly from the Viking or Norse period. With contributions from both academic scholars and practitioners, it shows how approaching early medieval textiles from archaeological, historical and literary contexts, and through the processes of learning and employing the traditional skills of making them, brings about a more nuanced understanding of early medieval cloths: their creation, use and meanings within their respective societies.

This book reexamines the Harlem Renaissance as part of a global flowering of Black creativity. Featuring artists such as Aaron Douglas, Charles Henry Alston, Augusta Savage, and William H. Johnson, who synthesized the expressive figuration of the European avant-garde with the aesthetics of African sculpture and folk art to render all aspects of African American city life, this book also includes works by lesser-known contributors, including Laura Wheeler Waring and Samuel Joseph Brown, Jr.. The works of New Negro artists active abroad are also examined in juxtaposition with those of their European and international African diasporan peers, from Germaine Casse and Ronald Moody to Henri Matisse, Edvard Munch, and Pablo Picasso. This reframing of a celebrated cultural phenomenon shows how the flow of ideas through Black artistic communities on both sides of the Atlantic contributed to international conversations around art, race, and identity while helping to define our notion of modernism.

This book explores medieval sculptors' motif of the open mouth. Too often dismissed as an illusionistic artistic device, or as an affective ploy to foster the emotional response of the viewer, ' speech mode' is here shown to have a deeper significance as an agent of engagement and persuasion. Through the evocation of sound, speaking sculptures fostered imaginatively an aural relationship between the sculpture and the viewer. Exploring a wide range of geographies, this work demonstrates that the speech mode in sculpture was not an isolated phenomenon but a familiar device in many areas of Late Gothic Europe. By highlighting 14th to 16th century examples, as well as key 13th century precedents, Speaking Sculptures in Late Medieval Europe explores the use, effects and purposes of this silent rhetoric, and the agency it implies within the period eye and the period ear of pre-Reformation Catholic Europe.

Exhibition - Museum of Cultural History, Oslo.
Imagine a different world where humans didn’t rule over all other creatures, but people looked upon animals with awe and admiration. Fabulous Animals invites visitors on a magical journey back to Iron Age Scandinavia, a time when a different relationship with animals characterised people’s beliefs and notions and, not least, influenced the beautiful things they created, used and surrounded themselves with. The journey begins in the 5th century, a time when Northern Europe was changing after the fall of the Roman Empire. Skilled jewellers from the Roman border towns wandered north and brought their tools and knowledge of beautiful things. A Scandinavian style of its own called animal ornamentation arose in the chiefdom societies found in the north. This was a type of aesthetics that mirrored people’s beliefs and conceptual world. This is a time before Christianity arrived in Scandinavia, when the Norse religion influenced people’s worldview; a time when animals were important for gods and for humans.

This book’s readers embark on a journey spanning two decades, delving into the evolving social and artistic landscapes through the lens of all-women exhibitions. These groundbreaking projects confronted issues of sexual and racial discrimination, igniting profound discussions about women's roles within modernism and democracy. Looking closely at the inception and reception of these exhibitions by curators, artists, critics, and the public, the book sheds light on the contributions of numerous artists, from Ruth Asawa to Marguerite Zorach. By foregrounding the accomplishments of women artists during a conservative period overshadowed by the feminist movement of the 1970s, Belasco provides a fresh perspective on the complex history of women's art in America and its significance in the broader art world.

Erased de Kooning Drawing is an artwork that radically challenged the very definition of art and questioned the notion of the artist as creator. In 1953, Robert Rauschenberg erased a drawing by Willem de Kooning, who had somewhat reluctantly been giving his consent. Jasper Johns created a label for its first public presentation that proved to be key to the psychological framing of the piece. Having been transmuted into something new, the obliterated drawing was soon perceived as a pivotal moment in art history. In the 1950s it was considered Neo-Dada, in the 1960s it was hailed as the beginning of conceptual art, and in the 1980s saw it as a departure into postmodernism. Gregor Stemmrich outlines its status as a litmus test for the definitions of modernism, literalism and postmodernism, and demonstrates its continuing relevance for the theory of the image and the question of appropriation.

Today Is Always Yesterday explores the historical constructs underlying contemporary art in Brazil. Michael Asbury argues that art can activate as well as illustrate history. The colors of the Brazilian flag structure the book's five chapters as Asbury explores artists' vital role in unraveling Brazil's core myths and its projected image as a racial melting pot.

Art has long played a key role in constructing how people understand and imagine America. Starting with contemporary controversies over public monuments in the United States, Rebecca Zorach carefully examines the place of art in the occupation of land and the upholding of White power in the US, arguing that it has been central to the design of America's racial enterprise. Confronting closely held assumptions of art history, Zorach looks to the intersections of art, nature, race, and place, working through a series of symbolic spaces--the museum, the wild, islands, gardens, home, and walls and borders--to open and extend conversations on the political implications of art and design. Against the backdrop of central moments in American art, from the founding of early museums to the ascendancy of abstract expressionism, Zorach shows how contemporary artists have mined the relationship between environment and social justice, creating works that investigate and interrupt White supremacist, carceral, and environmentally toxic worlds.

In the mid-twentieth century, dramatic social and political change coincided with the ascendance and evolution of architectural modernism in Texas. Relentless ambition and a strong sense of place combined to make Texans particularly receptive to modern architecture's implication of newness, forward-looking attitude, and capacity to reinterpret historical forms in novel ways. As money and people poured in, architects and their clients used modern buildings to define themselves and the state. Home, Heat, Money, God analyzes buildings in big cities and small towns by world-famous architects, Texas titans, and lesser-known designers. Architectural historian Kathryn O'Rourke describes the forces that influenced architects as they addressed basic needs--such as staying cool in a warming climate and living in up-to-date housing--and responded to a culture driven by potent religiosity, by the countervailing pressures of pluralism and homogenization, and by the myth of Texan exceptionalism.

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In April 1937, the Museum of Modern Art in New York hosted an exhibition that served as a catalyst for the appropriation of prehistoric rock art in postwar abstract painting. It displayed a range of copies from the influential collection of the German ethnologist Leo Frobenius. This book highlights the importance of this exhibition to artists such as Josef Albers, Adolph Gottlieb, David Smith, and The American Abstract Artists group, who sought inspiration from the prehistoric images' primordial creativity. With a transnational scope, this book reveals new facts about the connections between Paris and New York, and the importance of communication and collaboration between them for these artists. In doing so, Seibert shows that this debate was about more than just legitimizing abstract art forms from the past, but about recognizing an autonomous American abstract art.

Throughout her long, distinguished career writing about literature and art, Mary Ann Caws has excavated, illuminated, and examined in depth the most intriguing works and personalities of Symbolism, Dada, Surrealism, and beyond. In these articles, Caws brings us fresh portraits of the most famous figures and introduces us to the writers and artists who merit more attention than they've received, with a special focus on female writers and artists. From Dickinson and Mallarmé to Duchamp and Mina Loy, Caws applies the art of close looking to shrewdly framed slices of the modernist experience.

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This book’s chapters survey the remarkable range of finds retrieved from Ribe, a hub of the North Sea world in the eighth and ninth centuries AD: artefacts made from pottery, stone, shell, glass, metals, amber, leather, wood, textile, bone and antler. They offer detailed insights that highlight discoveries such as the assemblages from glass bead or comb-making workshops, and rare finds such as wooden furnishings and musical instruments. The focus of the book is on assembling Ribe’s early urban network. By analysing finds and their context, we develop a picture of social roles and interactions between residents and visitors in the emporium. And we follow the connections they created with other worlds as we trace the flows of glass vessels, pottery and wine barrels from Western Europe; iron, stone and animal products from North and Central Scandinavia and beads and coins that travelled from the Middle East and the Indian Ocean into northern Europe’s new maritime frontier.

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This book, the first biography of artist Clitso Dedman (1876-1953), is the story of a remarkable and underrecognized figure of twentieth-century Navajo artistic creation and innovation. At age sixty Dedman turned his creative talent to wood carving, initiating a new Navajo art form. Although the neighboring Hopis had been carving Kachina dolls for generations, the Navajos traditionally avoided any permanent reproduction of their Holy People. Dedman was the first to ignore this proscription, and for the rest of his life he focused on creating wooden sculptures of the various participants in the Yeibichai dance, which closed the Navajo Nightway ceremony. These secular carvings were immediately purchased and sold to tourists by regional Indian traders. Today Dedman's distinctive and highly regarded work can be found in private collections, galleries, and museums.

This book explores the rich symbolism of the Codex Borgia, a masterpiece of Pre-Columbian art dating to the fifteenth century, showing how the manuscript's intricate and colorful imagery conveys complex ideas related to Mesoamerican myths and religion.

Renowned art historian and pioneering feminist Linda Nochlin explores how, from the late 18th century, fragmented, mutilated and fetishized representations of the human body came to constitute a distinctively modern view of the world.

Dislodging the avant-garde from its central position in the narrative of Soviet art, Collective Body presents painter Aleksandr Deineka's haptic and corporeal version of Socialist Realist figuration as an alternate experimental aesthetic that, at its best, activates and organizes affective forces for collective ends. Christina Kiaer traces Deineka's path from his avant-garde origins as the inventor of the proletarian body in illustrations for mass magazines after the revolution through his success as a state-sponsored painter of monumental, lyrical canvases during the Terror and beyond. In so doing, she demonstrates that Socialist Realism is best understood not as a totalitarian style but as a fiercely collective art system that organized art outside the market and formed part of the legacy of the revolutionary modernisms of the 1920s.

This book is a new and original study of medieval architectural culture in Ireland. The book's central premise is that the concept of a "Romanesque" style in eleventh- and twelfth-century architecture across Western Europe, including Ireland, is problematic, and that the analysis of building traditions of that period is not well served by the assumption that there was a common style. Detailed discussion of important buildings in Ireland, a place marginalised within the "Romanesque" model, reveals the Irish evidence to be intrinsically interesting to students of medieval European architecture, for it is evidence which illuminates how architectural traditions of the Middle Ages were shaped by balancing native and imported needs and aesthetics, often without reference to Romanitas.

This book aims to explore and analyze the way the Italian art world has experienced the allure of its counterpart in America and vice versa, and how the two have interacted Italian and American Art focuses on the period between 1930 and 1980 in particular. By comparing artworks and examining exhibition and gallery policies, political meddling, and figures linking Italy to the United States, a common thread emerges which held two worlds that were literally an ocean apart but in constant touch as they explored each other's movements contributing to art, from Futurism, Concrete art, and Abstract Expressionism, to Nuclear art, Pop art and Spatialism.

In a twentieth century during which modern art largely abandoned beauty as its imperative, a group of Black artists from Washington, DC, made beauty the center of their art making. This book highlights these influential artists, including David C. Driskell, Sam Gilliam, Lois Mailou Jones, and Alma Thomas, in the context of what Jeffrey C. Stewart describes as the Washington Black Renaissance. Vibrant histories of key District institutions and the city's communities of educators, critics, and collectors animate a nuanced consideration of the evolution of an aesthetic dialectic from the 1920s up to the present day. The essays in the volume are grounded by voices from a live artist panel at the National Gallery of Art in 2017, which included Lilian Thomas Burwell, Floyd Coleman, David C. Driskell, Sam Gilliam, Keith Morrison, Martin Puryear, Sylvia Snowden, and Lou Stovall.

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Six studies of the arts of the medieval Iberian peninsula reveal the intertwining of social, cultural, and political identities among Christians, Muslims, and Jews.

In the last years of the nineteenth century, the Tunisian city of Qayrawān suddenly found itself covered in murals. Concentrated on and around the city's Great Mosque, these monumental artworks were only visible for about fifty years, from the 1880s through the 1930s. This book investigates the fascinating history of who created these outdoor paintings and why. Using visual archaeological methods, William Gallois reconstructs the visual history of these works and vividly brings them back to life. He identifies a form of religious painting that transposed traditional aesthetic forms such as house decoration, embroidery, and tattooing--which lay exclusively within the domains of women--onto the body of a conquered city. Gallois argues that these works were created by women as a form of "emergency art," intended to offer amuletic protection for the community, and demonstrates how they differ markedly from "classical" Islamic antecedents and modern modes of Arab cultural production in the Middle East and North Africa. Based on extensive archival research, this study is both a record of a unique moment in the history of art and a challenge to rethink the spiritual force and agency of a group of anonymous female artists whose paintings aspired to help save the world at a time of great peril.

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This book explores the manuscripts, monuments, and other memorabilia associated with the artistic patronage of Eleanor of Aquitaine, her daughters, Marie de Champagne and Matilda of Saxony, and works generated by three queens of France, Marie de Brabant, Jeanne d'Evreux, and Blanche de Navarre. The book brings to light the shift in women's artistic patronage over the centuries, as well as its evolution, evincing how each generation built upon the previous one. These women’s greatest outputs occurred during precarious points in their lives that threatened their positions. At these times their participation in acts of patronage solidified their places at court, in society, and within cultural memory while doubling as assertions of their political power and lineage.

This book investigates how the Canadian state has used documents, lists, and databases to generate, make visible--and invisible--Indigenous identity. With an archive of legislative documents, registration forms, identity cards, and reports, Taschereau Mamers traces the political and media history of Indian status in Canada, demonstrating how paperwork has been used by the state to materialize identity categories in the service of colonial governance. Her analysis of bureaucratic artifacts is led by the interventions of Indigenous artists. Bringing together media theories of documentation and the strategies of these artists, this book develops a method for identifying how bureaucratic documents mediate power relations as well as how those relations may be disobeyed and re-imagined. By integrating art-led inquiry with media theory and settler colonial studies approaches, Taschereau Mamers offers a political and media history of the documents that have reproduced Indian status. More importantly, she provides us with an innovative guide for using art as a method of theorizing decolonial political relations.

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This volume explores a range of premodern rulers and their depictions in historiography, literature, art, and material culture to gain a broader understanding of their sexualities. It considers the methodologies and motivations of premodern writers and rulers when fashioning royal and elite sexualities and offers new analyses of an array of texts and artwork from across Europe and the wider Mediterranean.

In Dissident Practices, Claudia Calirman examines sixty years of visual art by prominent and emerging Brazilian women artists from the 1960s to the present, covering the period from the military dictatorship to the return to democracy in the mid-1980s, the social changes of the 2000s, the rise of the Right in the late-2010s, and the recent development of an overtly feminist art practice. Though they were lauded as key figures in Brazilian art, these artists still faced adversity and constraints because of their gender. Although many of them in the 1960s and 1970s disavowed the term feminism, Calirman gives a nuanced account of how they responded to authoritarianism, engaged with trauma in the aftermath of the military dictatorship, interrogated social gender norms, and fought against women's objectification.

-- Open Access eBook.
This companion examines the global Renaissance through object-based case studies of artistic production from Africa, Asia, the Americas, and Europe in the early modern period. The international group of contributors take an art historical approach characterized by close analysis of form and meaning as well as function, and a focus on questions of cross-cultural dialogue and adaptation. Seeking to de-emphasize the traditional focus on Europe, this book is a critical guide to the literature and the state of the field. Chapters outline new questions and agendas while pushing beyond familiar material. Main themes include workshops, the migrations of artists, objects, technologies, diplomatic gifts, imperial ideologies, ethnicity and indigeneity, sacred spaces and image cults, as well as engaging with the open questions of "the Renaissance" and "the global."

While visual cultures mingled comfortably along the silk roads and on the shores of the Mediterranean, medieval England has sometimes been viewed -- by both medieval and more recent writers -- as isolated. In this Element, the author introduces new evidence to show that this understanding of medieval England's visual relationship to the rest of the world demands revision. An international team led by the author has completed a digital reconstruction of the so-called Chertsey combat tiles (sophisticated pictorial floor tiles made .c 1250, England), including both images and lost Latin texts. Grounded in the discoveries made while completing this reconstruction, the author proposes new conclusions regarding the historical circumstances within which the Chertsey tiles were commissioned and their significant connections with global textile traditions.

- available through Mobius.
Diversifying the current art historical scholarship, this volume presents the untold story of modern art by exposing global voices and perspectives excluded from the privileged and uncontested narrative of "isms." This volume tells a worldwide story of art with expanded historical narratives of modernism. The chapters reflect on a wide range of issues, topics, and themes that have been marginalized or outright excluded from the canon of modern art. The topics examine diverse formal expressions, innovative conceptual approaches, and various media used by artists around the world and forcefully acknowledge the connections between art, historical circumstances, political environments, and social issues such as gender, race, and social justice.

This book has been developed from ideas first presented at the international symposium of the same name, held at the British Museum in 2017. Essays have been grouped within the broad categories of 'thought' -- Hokusai's intellectual concerns and the ways his art brought these to life; 'technique' - how the artist pursued excellence in a wide range of media, within a commercialized art market; and 'society' - dimensions of cultural interaction and patronage. A fourth section on 'legacy' looks at how stories of Hokusai have been as much generated by 130 years of scholarship, as they have by his works themselves. Challengingly, faked paintings and printed works have both contaminated and supported those stories. This innovative approach provides new insights into the work of one of the world's most celebrated artists and suggests many new avenues for Hokusai research.

Around 1600, a new style of sculpture started to evolve and flourish in the German-speaking lands. Dramatic wood and stone figures peopled the palaces, gardens and churches of Munich, Berlin, Dresden, Dusseldorf, Vienna, and Prague. These great works of art are little known outside Germany and Austria, partly because their colour and vivacity are so astoundingly different from the sculpture that was being produced in Italy, France, and Northern Europe at that time. This book explicates their history and conveys their compelling visual power to new audiences.

Linking histories of women, relationships to the natural environment, material culture and art, Andrea Pappas presents a new, multi-dimensional view of eighteenth-century North American culture from a unique perspective. This book investigates how and why white settler women pictured the landscape in their needlework. It explores the ways their embroidered landscapes address the tumultuous environmental history of the period; how their depictions of nature differ from those made by men; and what women’s choices of motifs can tell us about their lives and their relationships to nature. This book situates these pastoral and georgic needleworks (c. 1740-1775) at the intersection of environmental and social histories, interpreting them through ecocritical and social lenses.

This book by Harrack, herself a practicing ceramic artist, is a comprehensive examination of the development of ceramics from pre-history to the present day. The chapters each focus on key thematic areas - from early ceramic history to the influence of European ceramic practices to the syncretism and continuity of African Jamaican’s pottery traditions - with full discussions on how the canon of Jamaican ceramics has developed over centuries. Harrack's many years of teaching and investigation have guided much of the primary research for this project.

In this book, Bettina Messias Carbonell examines how African American history and culture is--and historically has been--represented in culturally specific and mainstream museums. Carbonell argues that African American museums provide a corrective history that is both argumentative and pragmatic: these museums educate and enlighten, and they seek to effect change. Themes examined include settlement narratives; key movements and individuals in political, social, and military history; the treatment of slavery; the status of Africa--the continent and individual countries and regions--as a source of origins and traditions and a destination for reconnection with the past; and activism and human rights.

This book examines how cultural institutions and their collections can support a goal shared with the scientific community: creating a climate-literate public that engages with environmental issues and climate change in an informed way. Demonstrating that archival and object-based resources can act as vital evidence for change, Sutton shows how the historical record, paired with contemporary reality, can create more personal connections to what many consider a remote experience: the changing climate. Providing valuable examples of museum collections used in discussions of environmental and climate change, the book shares how historic images and landscape paintings demonstrate change over time. Images, personal records, and professional documents have critical roles as boundary objects and proxy data.

This book is a practice-based guide designed to introduce qualitative research to established and upcoming museum professionals and increase their confidence to conduct this type of research. Highlighting the work of researchers who are studying museums around the world, the book begins by explaining why there is a need for qualitative research in museums. Rowson Love and Randolph then go on to provide guidance, including theories and frameworks, on how to envision a qualitative research project that facilitates meaningful interpretation of visitor experiences. Chapters in the methodology section begin with descriptions of featured qualitative methodologies and will assist readers as they determine which are most appropriate for their projects and as they advocate for their research. The final section will prepare readers still further, by demonstrating data analysis and reporting using the examples in the book.

Designed for individuals without formal training or previous on-the-job experience in nonprofit management or accounting, Financial Leadership for the Arts makes organizational finance simple and clear, freeing creative leaders to do their important work for communities. Governing board leaders, working professionals, and students alike will appreciate clear case studies, as well as the several chapters that examine contemporary challenges and their implications for present and future financial management, program management, and program evaluation.

This volume contributes theories and international examples for advancing conservation practice and providing best practice for the field that centers people in conservation of cultural heritage and collections care. The first part examines the ethical theory that underpins conservation decision-making by challenging outdated norms, introducing updated methods, and demonstrating new ways to approach compassionate collections care. The second part considers the challenges of human-centered ethics in conservation practice, while the final part provides real-world examples and case studies of these best practices in action, including successful challenges to colonial authority.

In this book, curator and director Bonaventure Soh Bejeng Ndikung proposes Pidgin languages as expressions of resistance to settler colonialism and pidginization as a way to approach curating (and the world), creating new spaces for encounter, knowledge, and pluralities. Deftly deploying the thinking, writing, and rhythmic beat of musicians, philosophers, linguists, poets, and novelists, Ndikung offers a new vision for activist curatorial practice and beyond.
- 3rd volume Thoughts on Curating series (edited by Steven Henry Madoff).

-- Open Access eBook.
This book investigates whether and how theoretical findings and insights in contemporary art conservation can be translated into the daily work practices of conservators or, vice versa, whether and how the problems and dilemmas encountered in conservation practice can inform broader research questions and projects. Because of contemporary art’s variable constitution, its care and management calls for a fundamental rethinking of the overall research landscape of museums, heritage institutions, private-sector organizations and universities. At first, this research was primarily pursued by conservation professionals working in or with museums and other heritage organizations, but increasingly academic researchers and universities became involved, for instance through collaborative projects. This book is the result of such collaboration.

-- Open Access eBook.
This book brings together innovative, multidisciplinary perspectives on contemporary museology and participatory museum practice that contribute to wider debates on museum communities, heritage, and sustainability. Set within the context of globalisation and decolonisation, this book draws upon bi-regional research that will enrich our understanding of the complex relationships between Europe, Latin America and the Caribbean through museum studies and practice. Chapters reflect upon the role of museums in defining community identities; the importance of young people’s participation and intergenerational work for sustainability; the role of museums in local development; and community-based museums and climate change.

-- Open Access eBook.
The Queer Museum examines how relationships between institutions and LGBTQ+ communities function and how they help to define queer museum practice. Analysing what it means to queer the museum in Western contexts, the book builds upon and challenges texts about inclusionary, activist museum practice and discusses the ways in which Othered communities are engaged with and represented. Arguing that an institution’s understanding of queerness is directly related to the kind, and extent, of change pursued by the museum, the author clarifies that governance structures, staff hierarchies, funding and relationships to queer communities affect the way queering might be pursued. The analysis looks critically at exhibitions and institutions and particularly forefronts the experiences of museum practitioners.

This book begins to trace the growth of the American historic preservation movement over the last 50 years. The first generation of the New Preservation (1966-1991) was characterized by the establishment of the bureaucratic structures that continue to shape the practice of heritage conservation in the United States. The National Register of Historic Places began with less than a thousand historic properties and grew to over 50,000 listings. The book uses the story of how sites associated with African American history came to be officially recognized and valued, and how that process challenged the conventions and criteria that governed American preservation practice.

In a thoughtfully articulated text, illustrated with pertinent examples of best practice, Möntmann argues that museums and galleries of contemporary art have a responsibility to 'decenter' their institutions, removing from their collections, exhibition policies and infrastructures a deeply embedded Euro-centric cultural focus with roots in the history of colonialism. In this, Möntmann argues, they can learn from the example both of anthropological museums (such as the Humboldt Forum in Berlin and the British Museum), which are engaged in debates about the colonial histories of their collections, and of small-scale art spaces (such as La Colonie in Paris or Savvy Contemporary in Berlin), which have the flexibility to initiate different kinds of conversation - for example, by programming exhibitions and events in collaboration with local diasporic communities from the global south.

- Open Access book
While museums have long focused on building digital object databases, the existing data can now become a field of application for machine learning, deep learning, and foundation model approaches. This goes hand in hand with new artistic practices, curation tools, visitor analytics, chatbots, automatic translations and tailor-made text generation. With a decidedly interdisciplinary approach, the volume brings together a wide range of critical reflections, practical
perspectives and concrete applications of artificial intelligence in museums, and provides an overview of the current state of the debate.

-- Open Access eBook.
This book focuses on big data analytics methods and tools that have been specifically developed for the domain of cultural heritage, as well as on experiences from the adaptation and/or application of general-purpose solutions in the domain of cultural heritage. The editors aimed to gather solutions, but also to summarise the lessons learnt, methodologies, and good practices that researchers and practitioners can use as a basis for their own work in the domain.

Open Access eBook.
Dieses Buch ist für alle, die mutig genug sind, sich selbst und das Zeigen von Kunst zu stören. Beatrice Miersch entwirft radikal-relationale Alternativen zu zeitgenössischen Ausstellungspraktiken. Um sich der gesellschaftlichen Verantwortung im Rahmen des Ausstellens von Kunst zu stellen, erprobt sie queer-feministische, kulturwissenschaftliche und selbstreflektierende Methoden in der Praxis und Theorie des Kuratierens. Momente kuratorischer Störung werden zu produktiv-schöpferischen Momenten der Unterbrechung, mit denen sie reflektierte, offene, engagierte und vulnerable Perspektiven auf das Ausstellen eröffnet und tradierte Strukturen durchbricht.

This book's content is presented by museum educators, arts administrators, occupational therapists, and school psychologists--contributors with different expertise and perspectives on the stakes of cultural arts experiences for neurodiverse visitors. Their practical goals for the reader are threefold: to understand the value of programming for neurodiverse visitors and effectively communicate this to others; to build a toolkit of strategies and resources for neurodiverse visitors to have successful visits to cultural institutions, no matter the staff size, budget, or current stages of accessibility; to develop evaluation strategies to gauge the impact of offerings for neurodiverse visitors with results that help the reader improve, grow, and refine for the future.

In 1927, Kenneth Crosthwaite Murray left England to develop the art program in the British colony of Nigeria. As he traveled the country, Murray saw the cultural practices and craft production of Nigerian visual material under threat and decided to collect these pieces to preserve, understand, and, perhaps, console during a period of great change. He and a few of his colleagues built seven museums before independence, established export policies, began calling for the return of cultural heritage, and developed excavation protocol. This book captures Murray’s life and legacy and explores the tension that arose among the colonial government, officers, and Nigerians who sought to build these cultural institutions during the transition to a newly independent Nigeria.

The Dimensions of Curation Competing Values Exhibition Model uses three axes to help you to make sense of exhibitions your museum has curated and think intentionally about future curatorial decisions. Whether implicit or intentional, decisions made about interpretive focus, curatorial power, and curatorial intent indelibly shape the resulting exhibition and determine who will be best served or disenfranchised by it. This book introduces competing values and organizational models that address them.

This book examines how creative arts and memory institutions selectively commemorate or often outright ignore stark histories of colonialism. The essays confront outdated narratives and institutional methods by investigating contemporary artistic and scholarly interventions documenting settler colonialisms including land theft, incarceration, intergenerational trauma, and genocide. Rather than dwelling simply in celebratory appraisals of Indigenous survival, this unprecedented volume tracks how massacres, disease, removals, abrogated treaties, religious intolerance, theft of land, and relocation are conceived by contemporary academics and artists.

This book examines how Mississippi confronts its history of racial violence and injustice through civil rights tourism. Mississippi's civil rights memorials include a vast constellation of sites and experiences-from the humble Fannie Lou Hamer Museum in Ruleville to the expansive Mississippi Civil Rights Museum in Jackson-where the state's collective memories of the movement are enshrined, constructed, and contested. Rather than chronicle the history of the Mississippi Movement, the authors explore the museums, monuments, memorials, interpretive centers, homes, and historical markers marketed to heritage tourists in the state. The ascendency of civil rights memorialization in Mississippi comes at a time when the nation is reckoning with its racial past, as evidenced by the Black Lives Matter movement, Mississippi's adoption of a new state flag, the conviction of former members of the Ku Klux Klan, and the removal of Confederate monuments throughout the South. Terror and Truth directly engages this national conversation

In this book, Fischer calls for a new anthropology of the arts that attends to the materialities and technologies of the world as it exists today. Fischer examines the work of key Southeast and East Asian artist-theorists within the crucibles of unequal access, geopolitics, reverberating past traumas, and emergent socialities. He argues that these artists' theoretical discourses should be privileged over those of the curators, historians, critics, and other gatekeepers who protect and claim art worlds for themselves.