More than a detailed history of a museum and tourist attraction, it examines the packaging of American history, and consumerism and the manufacturing of cultural beliefs. Through extensive fieldwork—including numerous site visits, interviews with employees and visitors, and archival research—Richard Handler and Eric Gable illustrate how corporate sensibility blends with pedagogical principle in Colonial Williamsburg to blur the lines between education and entertainment, patriotism and revisionism.During much of its existence, the "living museum" at Williamsburg has been considered a patriotic shrine, celebrating the upscale lifestyles of Virginia’s colonial-era elite. But in recent decades a new generation of social historians has injected a more populist and critical slant to the site’s narrative of nationhood. For example, in interactions with museum visitors, employees now relate stories about the experiences of African Americans and women, stories that several years ago did not enter into descriptions of life in Colonial Williamsburg. Handler and Gable focus on the way this public history is managed, as historians and administrators define historiographical policy and middle-level managers train and direct front-line staff to deliver this "product" to the public. They explore how visitors consume or modify what they hear and see, and reveal how interpreters and craftspeople resist or acquiesce in being managed. By deploying the voices of these various actors in a richly textured narrative, The New History in an Old Museum highlights the elements of cultural consensus that emerge from this cacophony of conflict and negotiation.

    This tendency can be found in practices and projects ranging from El Lissitzky's exhibition designs to Allan Kaprow's happenings, from minimalist objects to installation art. More recently, this kind of participatory art has gone so far as to encourage and produce new social relationships. Guy Debord's celebrated argument that capitalism fragments the social bond has become the premise for much relational art seeking to challenge and provide alternatives to the discontents of contemporary life. This publication collects texts that place this artistic development in historical and theoretical context.Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Bertolt Brecht, Roland Barthes, Peter B�rger, Jen-Luc Nancy, Edoaurd Glissant, and F�lix Guattari, as well as the first translation into English of Jacques Ranci�re's influential Problems and Transformations in Critical Art. The book also includes central writings by such artists as Lygia Clark and H�lio Oiticica, Joseph Beuys, Augusto Boal, Felix Gonzalez-Torres, Thomas Hirschhorn, and Rirkrit Tiravanija. And it features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster, and Hans-Ulrich Obrist.Copublished with Whitechapel Art Gallery, London

    What kind of history Americans should read, see, or fund is no longer merely a matter of professional interest to teachers, historians, and museum curators. Everywhere now, history is increasingly being held hostage, but to what end and why? In History Wars, eight prominent historians consider the angry swirl of emotions that now surrounds public memory. Included are trenchant essays by Paul Boyer, John W. Dower, Tom Engelhardt, Richard H. Kohn, Edward Linenthal, Micahel S. Sherry, Marilyn B. Young, and Mike Wallace.

    

    Thrown out of every unit defending the City, either she takes on a new role, or she will be sent to the Rats, a company of misfits given the perilous tasks beyond the Great Walls.Her new role, if she takes it, will bring her face to face with her deepest fears, for beneath the walls, in a secret and hidden lair, lies a dragon, imprisoned and waiting… This box-set includes the Blade Trilogy - the first three books (complete arc) of The Magelands Eternal Siege, over 1300 paperback pages or 2000 Kindle pages.The Mortal BladeThe Dragon's BladeThe Prince's Blade

    Sturken investigates the consumerism that followed from the September 11th attacks; the contentious, ongoing debates about memorials and celebrity-architect designed buildings at Ground Zero; and two outcomes of the bombing of the Alfred P. Murrah Federal Building in Oklahoma City: the Oklahoma City National Memorial and the execution of Timothy McVeigh.Sturken contends that a consumer culture of comfort objects such as World Trade Center snow globes, FDNY teddy bears, and Oklahoma City Memorial t-shirts and branded water, as well as reenactments of traumatic events in memorial and architectural designs, enables a national tendency to see U.S. culture as distant from both history and world politics. A kitsch comfort culture contributes to a “tourist” relationship to history: Americans can feel good about visiting and buying souvenirs at sites of national mourning without having to engage with the economic, social, and political causes of the violent events. While arguing for the importance of remembering tragic losses of life, Sturken is urging attention to a dangerous confluence—of memory, tourism, consumerism, paranoia, security, and kitsch—that promulgates fear to sell safety, offers prepackaged emotion at the expense of critical thought, contains alternative politics, and facilitates public acquiescence in the federal government’s repressive measures at home and its aggressive political and military policies abroad.

    Working from research conducted over six years with hundreds of charities and donors, Donor-Centered Fundraising paints a candid picture of why donors stop giving to charities they once supported, and what it will take to preserve their loyalty in the future. In clear language and backed by statistical evidence, Penelope Burk explores the pitfalls of our traditional approaches to donor communication and recognition and articulates what donors want but seldom get from the charities they support. The book features straightforward and accessible calculations that show how much money charities are failing to raise, and offers a step-by-step procedure for testing a donor-centered alternative and gaining its acceptance in any organization. Filled with eye-opening, humorous, and often poignant anecdotes from both donors and charities, Donor-Centered Fundraising is both a revealing expose and an entertaining read. This book is written for fundraisers, executive directors, communications staff, board members, and any staff or volunteers who interact with donors or deal with the financial support of charitable organizations. Donor-Centered Fundraising sets a new standard for success and establishes itself as the essential fundraising methodology for the times.

    Mai’s betrayal lands her in a life threatening situation at the hands of Cipher, whom seems to think Rocko is responsible for his cousin’s death. While Heather and Troi are forced to work out their differences for their own safety, Brandon isn’t really who he says he is. Heather has to decide if her relationship with Brandon will be able to outlast what he’s been hiding. Rocko comes back in contact with an old fling, Dominique. Will he be able to deal with her surprise?

    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.

    “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 contributions from noted experts in the field, and filled with illustrative examples, this book demonstrates why fundraising is a strategic management discipline and clearly defines each step in the fundraising cycle. Praise for the Third Edition of Achieving Excellence in Fundraising"Achieving Excellence in Fundraising brings together the voices of leaders in the field with the research expertise of the Center on Philanthropy at Indiana University. This winning combination makes the updated third edition an excellent resource for everyone engaged in nonprofit fundraising." --John Lippincott, president, Council for Advancement and Support of Education (CASE)"This book is the best road map--coupled with creative approaches to the practice of fund development--you will find. The sections addressing donor interest and stewardship alone are worth the price. Take time to enhance your fundraising skills, and, most importantly, increase your fundraising results. Tempel, Seiler, and Aldrich have collaborated on apublication worthy of serious study." --William C. McGinly, president and CEO, Association for Healthcare Philanthropy"The third edition of this seminal piece of literature, Achieving Excellence in Fundraising, is a wonderful continuation of a legacy that provides the nonprofit sector with a thoughtful, comprehensive, and well-organized approach to contemporary and ethical fundraising practices. The legacy lives on!" --Denny Smith, president and CEO, CFRE International"One of the most significant challenges that the grantee organizations of foundations face is building sustainable resources. Achieving Excellence in Fundraising will help them build the fundraising program they need to do so." --Steve Gunderson, president and CEO, Council on Foundations"Today's donors seek new philanthropic experiences. Achieving Excellence in Fundraising couples the importance of good stewardship and relationships with innovation, engagement, and long-term results. This third edition takes a critical new look at a classic sector must-read." --Brian Gallagher, president and CEO, United Way Worldwide

    

    He is about his business, money and family. When he gets shot and nearly dies, the doctor that saves his life becomes the one who also steals his heart. Ike is wild about Dr. Camry Harrison, even though they are from two different worlds. Ike pursues Camry relentlessly in an attempt to win her heart. Will his efforts to have her as his be in vain? Camry Harrison is a doctor at one of the most prestigious hospitals in the Chicago area. She has been the good doctor and has gained the utmost respect from the entire hospital staff. She works hard to take care of her patients and they love her. Will Camry be able to put aside her reservations pertaining to Ike’s “job” for a relationship with Ike? Will she be able to weather the storm that comes her way when dealing with a man like Ike? Frank is losing it! He is the one person in Ike’s life causing him the most problems. His fixation on Ike’s sister, Tanisha has him running around like a crazed maniac. Frank thought he had gotten over his feelings for Tanisha, but he was wrong. Seeing her with a new man only made him want her that much more. Frank will stop at nothing to get what he wants. He is willing to do any and everything to get Tanisha back, at any costs. Is there a limit to what Frank is willing to do to get Tanisha back?

    

    In this book, Denise D. Meringolo shows that the roots of public history actually reach back to the nineteenth century, when the federal government entered into the work of collecting and preserving the nation's natural and cultural resources. Scientists conducting research and gathering specimens became key figures in a broader effort to protect and interpret the nation's landscape. Their collaboration with entrepreneurs, academics, curators, and bureaucrats alike helped pave the way for other governmental initiatives, from the Smithsonian Institution to the parks and monuments today managed by the National Park Service.All of these developments included interpretive activities that shaped public understanding of the past. Yet it was not until the emergence of the education-oriented National Park Service history program in the 1920s and 1930s that public history found an institutional home that grounded professional practice simultaneously in the values of the emerging discipline and in government service. Even thereafter, tensions between administrators in Washington and practitioners on the ground at National Parks, monuments, and museums continued to define and redefine the scope and substance of the field. The process of definition persists to this day, according to Meringolo, as public historians establish a growing presence in major universities throughout the United States and abroad.