In The Innocence of Objects, Pamuk’s catalog of this remarkable museum, he writes about things that matter deeply to him: the psychology of the collector, the proper role of the museum, the photography of old Istanbul (illustrated with Pamuk’s superb collection of haunting photographs and movie stills), and of course the customs and traditions of his beloved city. The book’s imagery is equally evocative, ranging from the ephemera of everyday life to the superb photographs of Turkish photographer Ara Güler. Combining compelling art and writing, The Innocence of Objects is an original work of art and literature.Praise for The Innocence of Objects: "[A] most audacious and provocative take on the history of Turkish culture and politics by Turkey's best-known dissenter." —Publishers Weekly“Orhan Pamuk’s The Innocence of Objects makes me want to stand up and shout! It is a triumph of intimacy over sterility, depth over superficiality, and humanity over inhumanity. It is also the most perfect intersection of art and literature that I have ever encountered.” —The Huffington Post“I bought the Turkish edition of The Innocence of Objects, a richly illustrated book about the museum, and have been waiting for Abrams’ English translation. It’s just come out, and Pamuk’s text about the project is as illuminating as it promised to be.” – The Design Observer“—Pamuk’s tour de force and mind-benderabout museums, art, artifice, and the place of fiction and the writer in theworld—is a nonfiction narrative unlike most you will encounter.” — “[A] squarish volume, filled with gorgeous photographs of the museum’s interior. . . . The exhibition photos are accompanied by Pamuk’s lively, sometimes dazzling commentary, which ranges freely from personal anecdotes to meditations on aesthetics to whimsical ‘memories’ of his fictional protagonist. . . .” —The American Reader “The Innocence of Objects—Pamuk’s tour de force and mind-bender about museums, art, artifice, and the place of fiction and the writer in the world—is a nonfiction narrative unlike most you will encounter.” —Virginian Pilot

    However, a shift is occurring, giving Indigenous people a larger role in determining exhibition content. In Decolonizing Museums, Amy Lonetree examines the complexities of these new relationships with an eye toward exploring how museums can grapple with centuries of unresolved trauma as they tell the stories of Native peoples. She investigates how museums can honor an Indigenous worldview and way of knowing, challenge stereotypical representations, and speak the hard truths of colonization within exhibition spaces to address the persistent legacies of historical unresolved grief in Native communities.Lonetree focuses on the representation of Native Americans in exhibitions at the Smithsonian's National Museum of the American Indian, the Mille Lacs Indian Museum in Minnesota, and the Ziibiwing Center of Anishinabe Culture and Lifeways in Michigan. Drawing on her experiences as an Indigenous scholar and museum professional, Lonetree analyzes exhibition texts and images, records of exhibition development, and interviews with staff members. She addresses historical and contemporary museum practices and charts possible paths for the future curation and presentation of Native lifeways.

    Places" Jonathan Meades has an obsessive preoccupation with places. He has spent thirty years constructing sixty films, two novels and hundreds of pieces of journalism that explore an extraordinary range of them, from natural landscapes to man-made buildings and 'the gaps between them', drawing attention to what he calls 'the rich oddness of what we take for granted'. This book collects 54 pieces and six film scripts that dissolve the barriers between high and low culture, good and bad taste, deep seriousness and black comedy. Meades delivers 'heavy entertainment' - strong opinions backed up by an astonishing depth of knowledge. To read Meades on places, buildings, politics, or cultural history is an exhilarating workout for the mind. He leaves you better informed, more alert, less gullible. "Everything is fantastical if you stare at it for long enough. Everything is interesting."

    But why would anyone want to preserve an animal, and what is this animal-thing now? Rachel Poliquin suggests that taxidermy is entwined with the enduring human longing to find meaning with and within the natural world. Her study draws out the longings at the heart of taxidermy--the longing for wonder, beauty, spectacle, order, narrative, allegory, and remembrance. In so doing, The Breathless Zoo explores the animal spectacles desired by particular communities, human assumptions of superiority, the yearnings for hidden truths within animal form, and the loneliness and longing that haunt our strange human existence, being both within and apart from nature.

    A centuries-old tradition developed in Europe during the Renaissance, cabinets of wonder (also known as curiosity cabinets) are once again in fashion. Shops, restaurants, and private residences echo these cabinets in their interior design, by making use of the eclectic vintage objects commonly featured in such collections. "Cabinets of Wonder "showcases exceptional collections in homes and museums, with more than 180 photographs, while also explaining the history behind the tradition, the best-known collections, and the types of objects typically displayed. Offering both a historical overview and a look into contemporary interior design, this extravagantly illustrated book celebrates the wonderfully odd world of cabinets of wonder.

    Create handprint birds, lions and reindeer; invent strange creatures by combining fingerprints and blowpainting; make fingerprint stencil art or create your own gallery of aliens and monsters.From flowers and bees to dinosaurs and skeletons - let the inky fingers begin!Marion Deuchars is an internationally acclaimed, award-winning illustrator with an instantly recognizable and much loved style. From her covers for Penguin Books to her stamps celebrating the Royal Shakespeare Company, her illustration and lettering is unparalleled and highly influential.

    Instead of making art primarily for each other-whether painted or inscribed on rock walls, on the ground, on bark, or on bodies as part of ceremonies-artists began rephrasing their practices to inform outsiders about the complexities of their cultures and the remarkable lands that Aboriginal communities have managed for centuries.Many of the paintings in Ancestral Modern initially appear abstract but communicate surprisingly specific observations about places and people, flora and fauna, and Aboriginal history. In three wide-ranging essays and illuminating discussions of fifty individual works, the authors consider how deceptively simple means yield richly multilayered meanings. What appears to be a geometric maze turns into the path of ancestral beings establishing features of the landscape. Canvases resembling maps record memories of sacred ceremonies. Dazzling linear patterns conjure up leaves blown across a windswept desert, and herringbone hatching designates clan identities. Along the way, this collection offers many new visions of Australia-peering underground to see yams grow, trekking over vast salt lakes, following the trail of a blue-tongued lizard, and encountering a lightning-spitting serpent in swirling water.Two Australian and two American curators each contribute a distinct perspective on this collection of over one hundred artworks that span the Australian continent and the varying approaches to art pursued by diverse Aboriginal communities. Acrylic paintings from the desert, bark canvases from the north, and ochre-painted canvases from the west are joined by new uses of fiber, clay, and photography. Complementing the fully illustrated essays and catalogue entries are a visual glossary, which offers glimpses of the real-life creatures and landscapes that helped inspire the artworks, and a glossary of terms defining some of the essential concepts of Aboriginal culture. Ancestral Modern is dedicated to a vanguard effort by artists who are showing the world another way to experience not only their own country and worldviews but nature itself, wherever it is encountered.

    Kids love facts: they want to know about the biggest, fastest, tallest, and oldest everything. Full of instant information, these books feature a fresh design that is sure to appeal to the middle grade audience. These single-subject guides offer a unique catalog-style presentation, which clearly lays out individual subcategories with concise and punchy text covering all of the essential information on whatever topic is at-hand."Pocket Genius: Dinosaurs" profiles more than 140 prehistoric animals and features fossils, skeletons, anatomy and history as well as species including dinosaurs on land, winged pterosaurs in the sky and a range of sea monsters in the ocean.Supports the Common Core State Standards.

    collections management, A Legal Primer on Managing Museum Collections offers the only comprehensive discussion of the legal questions faced by museums regarding collections. This revised and expanded third edition addresses the many legal developments—including a comprehensive discussion of stolen art and the international movement of cultural property, recent developments in copyright, and the effects of burgeoning electronic uses—that have occurred during the past twenty-five years. An authorative, go-to book for any museum professional, Legal Primer offers detailed explanations of the law, suggestions for preventing legal problems, and numerous case studies of lawsuits involving museum collections.

    The arguments - both moral and pragmatic - for engaging diverse audiences, creating the conditions for more equitable access to museum resources, and opening up opportunities for participation, now enjoy considerable consensus in many parts of the world. A growing number of institutions are concerned to construct new narratives that represent a plurality of lived experiences, histories and identities which aim to nurture support for more progressive, ethically-informed ways of seeing and to actively inform contemporary public debates on often contested rights-related issues. At the same time it would be misleading to suggest an even and uncontested transition from the museum as an organisation that has been widely understood to marginalise, exclude and oppress to one which is wholly inclusive. Moreover, there are signs that momentum towards making museums more inclusive and equitable is slowing down or, in some contexts, reversing.Museums, Equality and Social Justice aims to reflect on and, crucially, to inform debates in museum research, policy and practice at this critical time. It brings together new research from academics and practitioners and insights from artists, activists, and commentators to explore the ways in which museums, galleries and heritage organisations are engaging with the fast-changing equalities terrain and the shifting politics of identity at global, national and local levels and to investigate their potential to contribute to more equitable, fair and just societies.

    Mabel O. Wilson gives voice to the figures who conceived the curatorial content: Booker T. Washington, W. E. B. Du Bois, Ida B. Wells, A. Philip Randolph, Horace Cayton, and Margaret Burroughs. Originally published in 2012, the book reveals why the Black cities of Chicago and Detroit became the sites of major Black historical museums rather than the nation's capital, which would eventually become home for the Smithsonian's National Museum of African American History and Culture, which opened in 2016.

    Nash started collecting Inuit carvings just as the art of printmaking was being introduced in Kinngait (Cape Dorset), an Inuit community on Baffin Island in the Canadian territory of Nunavut. Nash donated some 300 prints and sculptures to Harvard's Peabody Museum--one of the oldest collections of early modern Inuit art. The Peabody collection includes not only early Inuit sculpture but also many of the earliest prints on paper made by the women and men who helped propel Inuit art onto the world stage.Author Maija M. Lutz draws from ethnology, archaeology, art history, and cultural studies to tell the story of a little-known collection that represents one of the most vibrant and experimental periods in the development of contemporary Inuit art. Lavishly illustrated, Hunters, Carvers, and Collectors presents numerous never-before-published gems, including carvings by the artists John Kavik, Johnniebo Ashevak, and Peter Qumalu POV Assappa. This latest contribution to the award-winning Peabody Museum Collections Series fills an important gap in the literature of Native American art.

    This reader brings together classic and up to date texts on the nature and definition of the object itself, the senses and embodied experience of objects. No other volume brings together such perspectives in this way, and no other volume includes such a focus on the museum context.Museum Objects incorporates both theorised and more practical readings from a range of international academic and contextual perspectives. The overall result is a definitive set of readings that offers a comprehensive understanding of objects and their place within the museum context.

    What are the fundamental principles that make one oral history project fly and another falter? Community Oral History Toolkit examines theoretical foundations for oral history practice and offers applicable tools and guidelines that you can mold to your project’s specific needs. The wealth of existing literature on oral history methodology is designed for academic research; the Toolkit, however, is specifically geared toward community groups unaffiliated with large institutions such as universities. Volumes include an introduction to community oral history, planning and managing community oral history projects, interviewing subjects, and processing the interviews. Volumes in the set are also available separately.