Wander the galleries of this museum whenever you wish—it’s open 365 days a year!—and discover a collection of curated objects on every page, accompanied by informative text. Each chapter features a different ancient civilization, from the Silla dynasty of Korea to ancient Rome.

    You feel overworked and understaffed, with a budget smaller than your vision. Sometimes your ministry can feel like it has a revolving door, simultaneously bringing in new volunteers as current ones leave. The cycle of volunteer recruitment and turnover can be overwhelming, leading to frustration and distracting from the mission. In The Volunteer Project, we will introduce you to 4 Strategies that, when applied, will launch your church or nonprofit ministry into what we call a zero recruitment model of volunteerism. Formulated from the authors’ research, combined 50+ years of experience in leading volunteer teams, and the feedback of hundreds of volunteers, these 4 Strategies are designed to provide individuals with such satisfying volunteer experiences that they are motivated to continue volunteering, and even invite their friends to join them. Packed with comprehensive research, an online assessment tool for measuring volunteer satisfaction, and real-life stories, The Volunteer Project is designed to help you stop recruiting and start retaining.

    Within months of its making, the Migration Series was divided between The Museum of Modern Art (even-numbered panels) and the Phillips Memorial Gallery (odd-numbered panels). The work has since become a landmark in the history of African American art, a monument in the collections of both institutions and a crucial example of the way in which history painting was radically reimagined in the modern era. In 2015 and 2016, the panels will be reunited in exhibitions at The Museum of Modern Art (One-Way Ticket: Jacob Lawrence's Migration Series and Other Works) and at The Phillips Collection (Jacob Lawrence's Migration Series). This catalogue grounds Lawrence's Migration Series in the cultural and political debates that shaped the young artist's work and highlights its continued resonance for artists and writers today. An essay by Leah Dickerman situates the series within contemporary discussions about black history and an artist's social responsiblities in the late 1930s and early 1940s. Elsa Smithgall traces the acquisition and exhibition history of the Migration Series. Short commentaries on each panel explore Lawrence's career and technique, and the social history of the Migration. The catalogue also debuts ten poems commissioned from acclaimed poets that respond to the Migration Series. Elizabeth Alexander, honored as the poet at President Obama's first inauguration, introduces the section.

    Though it operated for only 24 years, this pioneering school played a significant role in fostering avant-garde art, music, dance, and poetry, and an astonishing number of important artists taught or studied there. Among the instructors were Josef and Anni Albers, John Cage, Merce Cunningham, Buckminster Fuller, Karen Karnes, M. C. Richards, and Willem de Kooning, and students included Ruth Asawa, Robert Rauschenberg, and Cy Twombly.  Leap Before You Look is a singular exploration of this legendary school and of the work of the artists who spent time there. Scholars from a variety of fields contribute original essays about diverse aspects of the College—spanning everything from its farm program to the influence of Bauhaus principles—and about the people and ideas that gave it such a lasting impact. In addition, catalogue entries highlight selected works, including writings, musical compositions, visual arts, and crafts. The book’s fresh approach and rich illustration program convey the atmosphere of creativity and experimentation that was unique to Black Mountain College, and that served as an inspiration to so many. This timely volume will be essential reading for anyone interested in the College and its enduring legacy.

    Twelve chapters then trace the various stages of the exhibition process in clear, informative language and using helpful diagrams and tables, from developing the concept to writing contracts and loan requests; putting together budgets and schedules; producing exhibition catalogues and interpretation materials; designing gallery spaces; working with artists, lenders, and art handlers; organizing private views; and documenting and evaluating a show.With advice and tips from a cast of international museum directors and curators—including Daniel Birnbaum (Moderna Museet, Stockholm); Aric Chen (M+,Hong Kong); Elizabeth Macgregor (Museum of Contemporary Art, Sydney); Hans Ulrich Obrist (Serpentine Gallery, London); Gao Peng (Today Art Museum, Beijing); Jennifer Russell (Metropolitan Museum of Art, New York); and Nicholas Serota (Tate, London)—this volume is a crucial guide for anyone involved in, or studying, the dynamic field of curation.

    They need not only to engage the communities surrounding them, but also to collaborate with visitors on the type and quality of experience they provide. This book -is a ground-breaking manifesto that calls for the establishment of a more inclusive, visitor-centered paradigm based on the shared experience of human habitation;-draws inspiration from film, theater, public art, and urban design to transform historic house museums;-provides a how-to guide for making historic house museums sustainable, through five primary themes: communicating with the surrounding community, engaging the community, re-imagining the visitor experience, celebrating the detritus of human habitation, and acknowledging the illusion of the shelter’s authenticity;-offers a wry, but informed, rule-breaking perspective from authors with years of experience; -gives numerous vivid examples of both good and not-so-good practices from house museums in the U.S.

    Celebrated graphic designer and self-described Italophile Louise Fili, with connoisseur of all things Lisa Apatoff, takes you on eight walks through Florence, discussing more than seventy of the city's most alluring shops—some run by the same families for generations, others offering young entrepreneurs' fresh interpretations of traditional techniques.Discerning travelers will discover rare books and charming hats; vintage Pucci and handmade shoes; cioccolata da bere (drinkable chocolate); colorful buttons; and bolts of rich silk fabric in this enchanting introduction to makers and purveyors of clothing, home decor, accessories, specialty foods, and much more. For each shop, there is a full-color photo, description of specialties, and information on location and hours of operation.

    From strange traditions in far-off places to weird collections from the town next door, this compilation of eye-popping photos and incredible info may be unbelievable, but it’s all verified to be 100% true.

    Lewis was the sole African American artist of his generation who became committed to issues of abstraction at the start of his career and continued to explore them over its entire trajectory. His art derived inspiration from music (jazz and classical) and nature (seasonal change, plant forms, the sea). Also central to his work were the dramatic confrontations of the civil rights movement, in which he was an active participant among the New York art scene. Bridging the Harlem Renaissance, Abstract Expressionism, and beyond, Lewis is a crucial figure in American abstraction whose reinsertion into the discourse further opens the field for recognition of the contributions of artists of color. Bringing much-needed attention to Lewis’s output and significance in the history of American art, Procession is a milestone in Lewis scholarship and a vital resource for future study of the artist and abstraction in his period.Published in association with Pennsylvania Academy of the Fine Arts, Philadelphia.

    When Hildebrand Gurlitt's trove became public in November 2013, it caused a worldwide media sensation. Catherine Hickley has delved into archives and conducted dozens of interviews to uncover the story behind the headlines. Her book illuminates a dark period of German history, untangling a web of deceit and silence that has prevented the heirs of Jewish collectors from recovering art stolen from their families more than seven decades ago by the Nazis. Hickley recounts the shady history of the Gurlitt hoard and brings its story right up to date, as 21st-century politicians and lawyers puzzle over the inadequacies of a legal framework that to this day falls short in securing justice for the heirs of those robbed by the Nazis. Hickley is a leading voice in German arts and culture and an expert on Nazi-looted art and appeared on the Imagine documentary on Gurlitt in 2014.

    His plan—his own Viae Crucis—was to meet with as many former prisoners of Nazi-fascist concentration camps as he could. He wanted not only to learn their stories, but to learn from their stories.He met with dozens of survivors from Auschwitz, Terezín, Mauthausen-Gusen, Buchenwald, Dachau, Gonars, Monigo, Renicci, Banjica, Ravensbrück, Jasenovac, Belsen, and Gurs. Many of these men and women shared their memories with Benvenuti along with artwork they’d created during their internment with pencil, ink, and charcoal.After four decades of research, Benvenuti presented these original black-and-white pieces in Imprisoned. This stunning collection provides visuals that oftentimes even the most eloquent words and sentences cannot convey.In his foreword, chemist, writer, and Holocaust survivor Primo Levi highlighted the importance of these reproductions, stating, “some have the immediate power of art; all have the raw power of the eye that has seen and that transmits its indignation.”

    Lavishly illustrated, it begins with an in-depth exploration of the different materials, techniques, and dyeing processes used in the creation of these sumptuous fabrics before exploring the central importance of cloth to Indian life and culture from ancient times to the present day. Special features focus on objects of historical importance, including a Kashmir map shawl, Tipu Sultan’s tent, and a remarkable 18th-century temple hanging from South India.   While many are familiar with Mughal velvets, western-market chintzes, or rural embroideries, for example, this book will surprise, inspire, delight, and inform with an extraordinary range of material, much of it new. Along with presenting great historical masterpieces, the importance and variety of the basic fibers—silk, cotton, wool—from which Indian textiles are traditionally made is emphasized, and the remarkable techniques of weaving, printing, dyeing, and embroidery that have made them prized across the world are illustrated in specially taken photographs.

    Against the backdrop of the Great Depression and amid labor protests in the city, Rivera created his Detroit Industry murals, one of the most important and accomplished works of art made in the United States in the 20th century, for the Detroit Institute of Arts. Kahlo, meanwhile, developed her own artistic identity almost unnoticed, emerging with an oeuvre of extraordinarily expressive work.   For this highly anticipated catalogue, Mark Rosenthal and a team of scholars have written essays that examine the artists, the city of Detroit in this period, and the commissioning of the murals by Edsel Ford, the patron, and William Valentiner, then director of the Detroit Institute. Rivera’s cartoons for the murals, which have not been exhibited in decades, are highlighted here along with new archival research conducted by Rivera’s grandson, Juan Rafael Coronel Rivera. Featuring more than 100 color illustrations of works by both artists, this book presents Detroit as a profoundly important place for the artistic development of Rivera and Kahlo.

    Welcome to the British Museum, home to Lottie Lipton: nine-year-old investigator extraordinaire! After a late night break-in at the British Museum, Lottie, Great Uncle Bert and Reg the caretaker discover a mysterious clue on the Rosetta Stone that will lead them to the legendary Trident of Neptune.Can the group solve the clue and find the Trident before the canny thief, Bloomsbury Bill, beats them to it?Perfect for developing and newly confident readers, Lottie Lipton Adventures are packed with action, adventure and puzzles for the reader to solve.

    V&A: A Souvenir is a desirable memento for visitors to the Museum as well as those wishing to understand more about the V&A’s world-class collections and design values.

    China needed war horses to protect its northern frontier and Tibet could supply them. When the Tibetans discovered tea in the 7th century, it became a staple of their diet, but its origins are in southwest China, and they had to trade for it. The result was a network of trails covering more than 3,000 kilometers through forests, gorges and high passes onto theHimalayan plateaus, traversed by horse, mule and yak caravans, and human porters. It linked cultures, economies and political ambitions, and lasted until the middle of the 20th century. Re-tracing the many branches of the Road, photographer and writer Michael Freeman spent two years compiling this remarkable visual record, from the tea mountains of southern Yunnan and Sichuan to Tibet and beyond. Collaborating on this fascinating account, ethno-ecologist Selena Ahmed's description of tea and bio-cultural diversity in the region draws on her original doctoral research.

    That same year, the Glenbow had taken its first tentative steps toward repatriation by returning sacred objects to First Nations’ peoples. These efforts drew harsh criticism from members of the provincial government. Was it not the museum’s primary legal, ethical, and fiduciary responsibility to ensure the physical preservation of its collections? Would the return of a sacred bundle to ceremonial use not alter and diminish its historical worth and its value to the larger society? Undaunted by such criticism, Conaty oversaw the return of more than fifty medicine bundles to Blackfoot and Cree communities between the years of 1990 and 2000, at which time the First Nations Sacred Ceremonial Objects Repatriation Act (FNSCORA)—still the only repatriation legislation in Canada—was passed. “Repatriation,” he wrote, “is a vital component in the creation of an equitable, diverse, and respectful society.” We Are Coming Home is the story of the highly complex process of repatriation as described by those intimately involved in the work, notably the Piikuni, Siksika, and Kainai elders who provided essential oversight and guidance. We also hear from the Glenbow Museum’s president and CEO at the time and from an archaeologist then employed at the Provincial Museum of Alberta who provides an insider’s view of the drafting of FNSCORA. These accounts are framed by Conaty’s reflections on the impact of museums on First Nations, on the history and culture of the Niitsitapi, or Blackfoot, and on the path forward. With Conaty’s passing in August of 2013, this book is also a tribute to his enduring relationships with the Blackfoot, to his rich and exemplary career, and to his commitment to innovation and mindful museum practice.

    The book-describes key institutions that have opened the doors to a wider range of visitors;-addresses the internal struggles to reorganize and democratize these institutions;-uses case studies, interviews of key personnel, Key Takeaways, and additional resources to help museum professionals implement a visitor-centered approach in collections-based institutions.

    A glorious testament to the infinite beauty, diversity, and historical significance of Native American culture, Indigenous Beauty presents outstanding examples of art made by tribes across the North American continent. This aesthetically rich and inclusive collection offers a broad view of American Indian art, including sculpture from the Northwest Coast; ancient ivories from the Bering Strait region; Yup’ik and Alutiiq masks from the Western Arctic; Katsina dolls from the Southwest Pueblos; Southwest pottery; sculptural objects from the Eastern Woodlands; Eastern regalia; Plains regalia and pictographic arts; and Western baskets. David Penney’s introduction and texts by other renowned experts offer insight into the visual and material diversity of the collection, providing a greater understanding of the social and cultural worlds from which these works came. This magnificent survey is both an invaluable resource and a visual pleasure.

    Charles V (1500–1558) once remarked that the sun never set on the Habsburg Empire, and for most of its history, Vienna served as its capital. The Habsburgs were acclaimed collectors and generous patrons of the arts. Franz Joseph I (1830–1916), the penultimate emperor of the dynasty, created the Kunsthistorisches Museum in Vienna to house the artistic treasures of the empire. Today, this museum possesses one of the most renowned collections in the world of Western art. An extraordinarily wide-ranging survey of the Habsburgs’ collections, this volume features classical Greek and Roman works, medieval arms and armor, tapestries, early modern painting and craftwork, ceremonial gilded carriages, and opulent costumes. Together, they reveal the splendor and the spectacle of the Habsburg court.

    But Artemous not only restores these works of art, he interacts with them-playing with the Cassatt children at the beach, dancing with Dega's ballerinas, playing clarinet in a Picasso ensemble. Sit back and enjoy a typical week in the life of this talented mouse as he slips in and out of trouble restoring and touching up great art, while managing to remain hidden from the museum visitors. But wait! Has he been spotted in the Art of Animation exhibit? Read on. Jim Patrick is an attorney and businessman and first time author. Debbie Patrick is an award winning artist and illustrator. They live in Sausalito Ca and have a daughter, Devin and a mouse of uncertain age named Artemous who lives in the walls of their old house. keywords: Mouse, Artist, Cassatt, Degas, Paintings, Museum, Art, Children, Picasso

    Named after its founder, the pioneering archaeologist Flinders Petrie, the Museum holds more than 80,000 objects and is one of the largest and finest collections of Egyptian and Sudanese archaeology in the world. Richly illustrated and engagingly written, the book moves back and forth between recent history and the ancient past, between objects and people. Experts discuss the discovery, history and care of key objects in the collections such as the Koptos lions and Roman era panel portraits. The rich and varied history of the Petrie Museum is revealed by the secrets that sit on its shelves.

    Towards the turn of the 20th century, Australian Aboriginal art went through a moment of extraordinary experimentation and innovation. Across Australia, Aboriginal artists moved away from traditional figurative imagery towards dynamic and individual abstract styles. This book examines the work of nine artists who were at the forefront of this movement. These artists transformed their traditional practices and lore into dynamic contemporary artworks. Each of these artists is represented in depth, with stunning reproductions and thoughtful analysis by art historians, curators, critics, and anthropologists. These writings and illustrations introduce readers to the ways contemporary Aboriginal artists are forging a distinctive new path, creating some of the finest abstract paintings of our time.

    This book, the first Western survey of this important artist, accompanies the Smithsonian's Arthur M. Sackler Gallery exhibition of the same name.Tawaraya Sōtatsu was a commoner who introduced traditional Japanese themes and subjects, formerly the sole purview of the aristocracy, to broader audiences. He painted these nationalistic images using a bold, expressive new design style. This characteristic style was further developed and enhanced when he founded the historic Rinpa school with calligrapher Hon'ami Kōetsu; Rinpa works are marked by dramatic, stylized renderings of traditional Japanese themes. Essays by leading scholars from the United States and Japan focus on Sōtatsu's well-known works; his collaboration with Kōetsu; his varied roles as shopkeeper, compiler, and court painter; and his influence over other artists, including Ogata Kōrin, Ogata Kenzan, Sakai Hōitsu, and Suzuki Kiitsu. The book also examines Freer Gallery of Art founder Charles Lang Freer's role in introducing Sōtatsu and Kōetsu to the Western world. Sōtatsu is a must-have book for museumgoers, Japanophiles, art lovers, and scholars.

    This publication was co-published in 2015 by the Indianapolis Museum of Art and American Alliance of Museums. With intellectual property laws and rights and reproductions methodologies ever-changing with new technologies, this digital publication, produced using the Online Scholarly Catalogue Initiative (OSCI) Toolkit platform, will be a living document that can be updated to remain current with trends and best practices.

    Disguise: Masks and Global African Art explores how themes related to masking and disguise in the past are now transitioning into new platforms around the world. The authors examine the influence of masks residing in the Seattle Art Museum’s renowned collection, investigating the longevity of masquerades, and how they offer ways to disrupt and reimagine reality.   In today’s global and digital world, artists are engaging with disguise through photography, video, and interactive platforms. Ten contemporary artists interviewed for this catalogue create work that conceals, layers, and reinvents identities. They include Jacolby Satterwhite, who creates extravagantly choreographed videos; Brendan Fernandes, whose performance-based works show how dance embodies disguise; and Zino Sara-Wiwa, a video artist and filmmaker who has examined the status of traditional Ogoni masks in the midst of Nigeria’s destructive oil trade. They are joined by numerous others from around the globe who address the intersection of disguise, identity, ritual, and contemporary life.

    The Paul G. Allen Family Collection reveals a marked interest in innovative artists' reflections on the land and sea. The works in the collection span over four hundred years, chronicling key developments in painting and art history. This book uses the Allen Family Collection to explore the evolution of landscape painting through the ages.The artists in the collection represent a who's who of masters of the landscape tradition. The book opens with a series of masterpieces by Jan Brueghel that serve as a starting point for understanding the historical trajectory of landscape painting, before moving on to 18th-century artists Canaletto and Moran and Impressionists such as Cezanne, Van Gogh, and Monet. Rounding out the survey are works by modern and contemporary visionaries including Max Ernst, Thomas Hart Benton, Edward Hopper, and David Hockney. Thirty-nine paintings in all are featured in book, each accompanied by detailed essays that comprise a full discussion of the formal intellectual development of the landscape form.

    Part travelogue, part romance, and part epic, the text traces the exciting exploits of Gillion as he journeys to Jerusalem on pilgrimage, is imprisoned in Egypt and rises to the command of the Sultan’s armies, mistakenly becomes a bigamist first with a Christian and then a Muslim wife, and dies in battle as a glorious hero. The tale encompasses the most thrilling elements of the Western romance genre — love, villainy, loyalty, and war — set against the backdrop of the East.   This lavishly illustrated volume reveals for the first time the complexity of this illuminated romance. A complete reproduction of the book’s illustrations and a partial translation of the text appear along with essays that explore the manuscript’s vibrant cultural, historical, and artistic contexts.   The innovative illuminations, by the renowned artist Lieven van Lathem, juxtapose the reality of medieval Europe with an idealized vision of the East. This unusual pairing, found in the text and illustrations, is the source of a rich discussion of the fifteenth-century political situation in the West and the Crusades in the East.

    This book provides a unique look at Indigenous perspectives on museum community engagement and the process of self-representation, specifically how the First Nations Elders of the Blackfoot Confederacy have worked with museums and heritage sites in Alberta, Canada, to represent their own culture and history. Situated in a post-colonial context, the case-study sites are places of contention, a politicized environment that highlights commonly hidden issues and naturalized inequalities built into current approaches to community engagement. Data from participant observation, archives, and in-depth interviewing with participants brings Blackfoot community voice into the text and provides an alternative understanding of self and cross-cultural representation.Focusing on the experiences of museum professionals and Blackfoot Elders who have worked with a number of museums and heritage sites, Indigenous Voices in Cultural Institutions unpicks the power and politics of engagement on a micro level and how it can be applied more broadly, by exposing the limits and challenges of cross-cultural engagement and community self-representation. The result is a volume that provides readers with an in-depth understanding of the nuances of self-representation and decolonization.