But as Stephen Asma shows in Stuffed Animals and Pickled Heads, there is moregoing on in these great institutions than just smart fun. Asma takes us on a wide-ranging tour of natural history museums in New York and Chicago, London and Paris, interviewing curators, scientists, and exhibit designers, and providing a wealth of fascinating observations. We learn how the first museums were little more than high-toned side shows, with such garish exhibits as the pickled head of Peter the Great's lover. In contrast, today's museums are hot-beds of serious science, funding major research in such fields as anthropology and archaeology. Rich in detail, lucid explanation, telling anecdotes, and fascinating characters.... Asma has rendered a fascinating and credible account of how natural history museums are conceived and presented. It's the kind of book that will not only engage a wide and diverse readership, but it should, best of all, send them flocking to see how we look at nature and ourselves in those fabulous legacies of the curiosity cabinet.--The Boston Herald.

    Its 300-year history apparently came to an end with the eccentric collectors of the baroque age, when scientific thinking and rationalism took over. But in recent years the cabinet of curiosities has reappeared in exhibitions in Europe and America and in international colloquia on university campuses, while reemerging as a source of inspiration for interior decorators and contemporary artists.This spectacular and ingenious book traces the history of these "rooms of wonders, " from their first appearance in the inventories and engravings commissioned by Renaissance nobles such as the Medici and the Hapsburgs, via those of the Dane Ole Wurm and the Italian polymath Athanasius Kircher, to the cabinets of seventeenth- and eighteenth-century scientists Elias Ashmole and Levinas Vincent.Much was genuinely scientific: minerals, fossils, stuffed and preserved animals and plants. Some items were merely curious, or even grotesque -- freaks of nature, monstrous births, insects in amber. The artificial or man-made was equally prominent -- wax effigies, death masks, specimens of almost incredible ingenuity (such as carvings on cherry-stones), or mechanical automata that imitated living things. The fascination of curiosities lies in their combination: they represent a stage of human inquiry in which imagination had not been divorced from reason.Patrick Mauries reconstructs these rooms of wonders as they were in their heyday and illustrates many of the most exotic items they contained, as well as the fewcomplete interiors that survive. He begins with the totality of the collection, the "theater of the world, " the whole sum of human knowledge gathered together in one room. He then examines the cabinets that contained and categorized the objects. Next he opens them to reveal the extraordinary melange of curiosities, specimens, and works of art. He looks at the personalities of the collectors themselves, from great princes to humble scholars, and finally at the modern revival of the cabinet of curiosity.

    Luminous, in-the-moment, and full of wonder, The Museum of Everything inspires readers to slow down and appreciate the world. For fans of What Do You Do with an Idea?, The Most Magnificent Thing, and classics such as Time of Wonder and A Hole Is to Dig. A spectacular picture book illustrated with dioramas, collages, and three-dimensional paintings.When a young girl feels that the world is too big and loud and busy and distracting, she pretends that she’s in a museum. It’s quiet there, and she can wonder about everything: Is a rock in a puddle an island? Is a dry spot on the ground on a rainy day the shadow of a car that’s just driven off? There’s a museum for everything—for islands and shadows and clouds and trees, and so much more.Newbery Medalist and acclaimed picture book creator Lynne Rae Perkins balances imagination and creativity with curiosity and facts. She has created the extraordinary artwork in three dimensions—as if each page is an exhibit or installation in a museum. A transcendent and timely picture book, The Museum of Everything encourages young readers to wonder, dream, and explore—and to learn more about the world around them.

    For students of museum, cultural and sociology studies, this will be an asset to their reading list.

    Akeley started small by stuffing a canary, but by the end of his life he had created the astonishing Akeley Hall of African Mammals at The American Museum of Natural History. What Akeley strove for and what fascinates Madden is the attempt by the taxidermist to replicate the authentic animal, looking as though it's still alive. To get a first-hand glimpse at this world, Madden travels to the World Taxidermy Championships, the garage workplaces of people who mount freeze-dried pets for bereaved owners, and the classrooms of a taxidermy academy where students stretch deer pelts over foam bases. On his travels, he looks at the many forms taxidermy takes--hunting trophies, museum dioramas, roadside novelties, pet memorials--and considers what taxidermy has to tell us about human-animal relationships. "The Authentic Animal "is an entertaining and thought-provoking blend of history, biology, and philosophy that will make readers think twice the next time they scoff at a moose head hung lovingly on a wall.

    By means of guided tours, exhibits, and signs, visitors to these areas receive a very special kind of education through their interpretation of informative materials.For over thirty-five years, Interpreting Our Heritage has been a source book for those who are responsible for and who respond to such interpretive materials. Whether the problem is to make a prehistoric site come to life or to explain the geological theory behind a particular rock formation, Freeman Tilden provides helpful principles to follow. For anyone interested in our natural and man-made heritage, this book offers guidance for exploring educational and recreational resources.

    Even after a bumpy bus ride, Nancy finds a way to make the day extra-fancy in this Fancy Nancy story from the beloved New York Times bestselling author-illustrator team Jane O’Connor and Robin Preiss Glasser. Nancy's class is going on a trip to the museum, and Nancy wants to be extra fancy for the occasion. After a bumpy bus ride, she doesn't feel very well. Luckily for Nancy, her teacher, Ms. Glass, has a few fancy tricks of her own. Nothing can keep Nancy from making this trip magnifique! (That's a fancy French word for great!)Fancy Nancy at the Museum is a Level One I Can Read book, which means it's perfect for children learning to sound out words and sentences. The back matter features a list of the rich vocabulary words that are used throughout the story along with their definition.

    Past the paint of the canvas is a realm where art lives, breathes, creates, destroys.Claudia Miravista loves art but only sees what is on the surface, until the Dutch boy Pim appears in her painting. Pim has been trapped in the world behind the canvas for centuries by a power-hungry witch, and now believes that Claudia is his only hope for escape. Fueled by the help of an ancient artist and some microwaveable magic, Claudia enters the wondrous and terrifying world, intent on destroying the witch's most cherished possession and setting Pim free. But in that world nothing is quite as it appears on the surface. Not even friendship.

    Sneaking behind her father's back, Theo uses old, nearly forgotten Egyptian magic to remove the curses and protect her father and the rest of the museum employees from the ancient, sinister forces lurking in the museum's dark hallways.When Theo's mother returns from her latest archaeological dig bearing the Heart of Egypt - a legendary amulet belonging to an ancient tomb - Theo learns that it comes inscribed with a curse so black and vile that it threatens to crumble the British Empire from within and start a war too terrible to imagine. Theo will have to call upon everything she's ever learned in order to prevent the rising chaos from destroying her country - and herself.

    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.

    Unlike written history, oral history forever captures people's feelings, expressions, and nuances of language. But what exactly is oral history? How reliable is the information gathered by oral history? And what does it take to become an oral historian? Donald A. Ritchie, a leading expert in the field, answers these questions and in particular, explains the principles and guidelines created by the Oral History Association to ensure the professional standards of oral historians.Doing Oral History has become one of the premier resources in oral history. It explores all aspects of the field, from starting an oral history project, including funding, staffing, and equipment to conducting interviews; publishing; videotaping; preserving materials; teaching oral history; and using oral history in museums and on the radio. In this second edition, the author has incorporated new trends and scholarship, updated and expanded the bibliography and appendices, and added a new focus on digital technology and the Internet. Appendices include sample legal release forms and information on oral history organizations.Doing Oral History is a definitive step-by-step guide that provides advice and explanations on how to create recordings that illuminate human experience for generations to come. Illustrated with examples from a wide range of fascinating projects, this authoritative guide offers clear, practical, and detailed advice for students, teachers, researchers, and amateur genealogists who wish to record the history of their own families and communities.

    Worked in elegant black-and-white graphics, the episodes see the black-cloaked professor encountering mystical challenges and making deductions about some of the museums most iconic objects.

    This lavishly illustrated series provides readers with the official guides to some of the world's finest galleries and art collections. Packed with fascinating detail, historical insight, and fully up-to-date information, these guides are a must-have for planning their visit to Florence.

    Not since Quasimodo has Paris been host to a monster of such charm. In typical exuberant style, Hobbs takes us abroad with the gentlemanly Mr Chicken, who tours the magnifique sights of Paris unaware that his enormous top-hatted self is the most astonishing spectacle of all. Joyously colourful, brilliantly observed, hilariously wry, Mr Chicken Goes to Paris is Leigh Hobbs' masterpiece.' Sonya Hartnett. Mr Chicken has taken up his friend Yvette's invitation to visit Paris. As they journey together through the City of Love, Mr Chicken is overcome by the magic of all the city has to offer - and the inhabitants of this most stylish city don't quite know what to make of him. Mr Chicken will delight children of all ages.

    Everything is old and boring and there are so many rules: Don’t Touch! Do Not Enter! Quiet! A vigilant guard keeps a close eye on the energetic little girl, but even so, Anna manages to set off an alarm and almost tip over a vase.A half-open door draws Anna’s attention, but the No Entry sign means yet again that it’s off-limits. This time, however, the guard surprises her by inviting her to go in. Here she finds a “secret workshop” where paintings are being cleaned and repaired. Staring out from one of the canvases is a girl who looks grumpy and bored—just like Anna herself. With the realization that art often imitates life, Anna discovers the sheer joy to be had from the paintings on the wall, especially those that reflect what is happening all around her.Filled with representations of paintings from many world-class galleries, this charming book is the perfect prelude to a child’s first visit to an art museum.