I didn't see him. So I asked a lady walking up the avenue, "Have you seen Art?" "MoMA?" asked the lady. "Uh . . . no, he's just a friend." "Just down Fifty-Third Street here. In a beautiful new building. You can't miss it." When this address turns out to be the Museum of Modern Art in New York City, confusion and hilarity ensue. As the narrator continues looking for Art inside MoMA, he is introduced to well-known pieces of art such as Van Gogh's The Starry Night, Matisse's The Red Studio, as well as works by Picasso, Klee, Lichtenstein and others. In a dynamic collaboration that features comical text and playful illustrations alongside full-color reproductions of the artwork, Jon Scieszka and Lane Smith give readers the perfect companion for a visit to MoMA, and an introduction to some of the world's best works of modern art.

    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

    He argues that existing anthropological and aesthetic theories take an overwhelmingly passive point ofview, and questions the criteria that accord art status only to a certain class of objects and not to others. The anthropology of art is here reformulated as the anthropology of a category of action: Gell shows how art objects embody complex intentionalities and mediate social agency. He exploresthe psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions--European, Indian, Polynesian, Melanesian, and Australian.Art and Agency was completed just before Alfred Gell's death at the age of 51 in January 1997. It embodies the intellectual bravura, lively wit, vigour, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation.

    He passes wall after wall of artwork until he sees a painting that makes him stop and ponder. Before long the painting comes to life and an afternoon of adventure and discovery changes how he sees the world ever after.

    Join Janson on a colorful tour of contemporary art in this new work from an acclaimed author and illustrator.

    Katie is desperate to win an art competition at the gallery, but the judging is at three o'clock—surely she can paint a terrific picture before the deadline, can't she? She’s got to try. Featuring the most iconic paintings by one of the world’s most loved artists, the masterpieces visited in the book include: Bathers at La Grenouillere, Blanche Monet Painting; Path through the Poppies; The Rue Montorgueil, Paris; and The Waterlily Pond.

    Museums: filled with mysterious, magical art and curiosities? Or secrets? And what might happen if a boy suddenly became part of one of the mind-bending exhibits? Join the fun in Museum Trip, by Barbara Lehman, the author-illustrator of the Caldecott Honor–winning The Red Book.

    There’s always something new (or old) to see at a museum, and for little readers, it’s good to have a friend like Maisy along for the adventure.

    They were discussed, annotated, cited, collected, and translated—the three issues of Artforum in which they appeared have become nearly impossible to obtain. Having Brian O'Doherty's provocative essays available again is a signal event for the art world. This edition also includes "The Gallery as Gesture," a critically important piece published ten years after the others. O'Doherty was the first to explicitly confront a particular crisis in postwar art as he sought to examine the assumptions on which the modern commercial and museum gallery was based. Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, he raises the question of how artists must construe their work in relation to the gallery space and system. These essays are essential reading for anyone interested in the history and issues of postwar art in Europe and the United States. Teeming with ideas, relentless in their pursuit of contradiction and paradox, they exhibit both the understanding of the artist (Patrick Ireland) and the precision of the scholar. With an introduction by Thomas McEvilley and a brilliantly cogent afterword by its author, Brian O'Doherty once again leads us on the perilous journey to center to the art world: Inside the White Cube.

    Franklin Evans had watched every war movie John Wayne ever made, sometimes several times over. When the “Duke” led his men, war was exciting and heroes were made as they ruggedly fought and predictably won each battle. But when Evans’ high school friend and real-life hero Glenn was killed in Vietnam, war became real and personal for Evans, and he felt a tremendous obligation to the buddy who gave his life in that faraway jungle. At the tender age of nineteen, Evans voluntarily enlisted in the U.S. Army and left for basic training in early December of 1966. Before long, he was deeply entrenched in a treacherous war, far removed from his innocent and carefree youth. He had to learn not only to survive but also to muster the bravery to lead others in combat as he was thrust from adolescence into adulthood. It has taken Evans more than thirty-five years to begin to heal the physical and emotional wounds that kept him from sharing his intensely personal story. From his depiction of the picturesque aerial view of Cam Rahn Bay to that of the barbed wire, metal planking, and squat huts housing weapons of death and destruction, Evans’s Stand To …provides a vividly detailed glimpse into what it was like to become a man on the battlefields of Vietnam.

    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.

    “A tantalizing whodunit” (Boston Globe) and a “riveting, wonderfully vivid account [that] takes you into the underworld of obsessed art detectives, con men, and thieves” (Jonathan Harr, author of The Lost Painting), The Gardner Heist is true crime history at its most spellbinding.

    With a chapter organization mirroring that of The Search for Modern China, this collection is the perfect supplement, providing a first-hand look at the modern Chinese society.

    It seeks to clarify such questions as: does correctness matter?; and is it more important to speak fluently and write imaginatively or to communicate one's message?

    When a collection of George Washington's letters is lost on the same day that an archivist is found dead, it seems strange that the Society president isn't pushing for an investigation. Nell goes digging herself, and soon uncovers a long, rich history of crime.