How can your institution do it and do it well? The Participatory Museum is a practical guide to working with community members and visitors to make cultural institutions more dynamic, relevant, essential places. Museum consultant and exhibit designer Nina Simon weaves together innovative design techniques and case studies to make a powerful case for participatory practice. "Nina Simon's new book is essential for museum directors interested in experimenting with audience participation on the one hand and cautious about upending the tradition museum model on the other. In concentrating on the practical, this book makes implementation possible in most museums. More importantly, in describing the philosophy and rationale behind participatory activity, it makes clear that action does not always require new technology or machinery. Museums need to change, are changing, and will change further in the future. This book is a helpful and thoughtful road map for speeding such transformation." -Elaine Heumann Gurian, international museum consultant and author of Civilizing the Museum "This book is an extraordinary resource. Nina has assembled the collective wisdom of the field, and has given it her own brilliant spin. She shows us all how to walk the talk. Her book will make you want to go right out and start experimenting with participatory projects." -Kathleen McLean, participatory museum designer and author of Planning for People in Museum Exhibitions "I predict that in the future this book will be a classic work of museology." --Elizabeth Merritt, founding director of the Center for the Future of Museums

    MRM5 includes expert advice from more than 60 acknowledged leaders in their disciplines. New with the 5th Edition are special teaching sections that challenge students and seasoned staff alike with questions about the process and procedures of accessioning and caring for objects. Contains bibliography, glossary and multiple sample forms. MRM5 continues a tradition of museum publishing that began with the inaugural edition in 1958.

    The Lady Anatomist tells the story of her arresting life and times, in light of the intertwined histories of science, gender, and art that complicated her rise to fame in the eighteenth century.   Examining the details of Morandi’s remarkable life, Rebecca Messbarger traces her intellectual trajectory from provincial artist to internationally renowned anatomical wax modeler for the University of Bologna’s famous medical school. Placing Morandi’s work within its cultural and historical context, as well as in line with the Italian tradition of anatomical studies and design, Messbarger uncovers the messages contained within Morandi’s wax inscriptions, part complex theories of the body and part poetry. Widely appealing to those with an interest in the tangled histories of art and the body, and including lavish, full-color reproductions of Morandi’s work, The Lady Anatomist is a sophisticated biography of a true visionary.

    She illustrates how the daily decisions made by archivists connect to larger issues of social responsibility and the need to construct a balanced and accurate historic record.Danielson both analyzes real-life cases and poses theoretical questions tohelp working archivists better understand ethics as an applied practice. The author clearly illustrates how ethical considerations and dilemmas emerge in seemingly routine facets of archival work-from acquisitionand appraisal through disposition and deaccessioning. Danielson also focuses on such fascinating phenomena as forged documents and displaced archives. She thoughtfully considers the archivist's responsibility to protect cultural property, and includes commentary on current trends in privacy law, clearly explaining relevant legislation.Helpful appendices include an analysis and reference to ten professional codes of ethics, sample acquisition guidelines and collections management policies, a select list of federal legislation affecting access to private information, and a bibliography.Do the right thing and read this book!

    With over 20 essays from leading practitioners in the field, and over 650 pages, it provides an authoritative, stimulating overview of new, innovative and successful initiatives in the field. The essays draw on cutting-edge experience throughout the world, and include contributions from Australia, Canada, Greece, Italy, Portugal and Mexico - as well as the UK and USA. The book is edited by Dr Anastasia Filippoupoliti, Lecturer in Museum Education at the Democritus University of Thrace in Greece: "I wanted to examine the narratives generated in science exhibitions and tackle some of the challenges museums experience in transforming scientific concepts or events into three-dimensional exhibits." Among the twenty essays included are: Art in Science Centres; The Interpretation of Dinosaurs in Museums; Forming a Museum of Mathematics; Critical Listening: An Essential Element in Exhibit Design; and Dioramas: Dusty Relics or Essential Tools?

    During a period of immense growth of collections in the United States, director Edward W. Forbes and associate director Paul J. Sachs developed the Fogg into a vital training ground for a new breed of museum professionals attuned to the materials of art and the effects of environment.A Laboratory for Art is the first book to explore the crucial role the Fogg played in the evolution of conservation in the US and abroad. It traces the efforts of staff and students who developed protocols for the treatment and documentation of works— sometimes through trial and error; disseminated research findings by establishing professional forums and a seminal journal; set standards for contemporary artists’ materials during the New Deal; and led the Allied drive to protect monuments and works of art during World War II. Alumni of the Fogg went on to leadership positions in museums and conservation laboratories across America.