Après avoir montré la place du patrimoine dans les économies contemporaines et les conventions qui en délimitent les contours, les services que le patrimoine rend aux ménages comme aux entreprises, aux territoires comme aux sociétés sont décrits et sa valeur économique en est déduite. L'efficacité et l'efficience de la gestion du patrimoine, le marketing du patrimoine et la détermination des prix pour l'acquisition des services patrimoniaux sont abordés. Les marchés ne permettent pas de déboucher sur une allocation optimale des investissements et un niveau convenable d'activités, notamment en milieu urbain, une intervention publique est alors possible.
angewendete Filter: museum & cultural heritage
This book addresses the rapid changes taking place in countryside management and their effect on the cultural landscape. Written by archaeologists and ecologists, it examines areas of cooperation and conflict between the two professions, considers current problems and their solutions, and speculates on the prospects for archaeology in the countryside in the 21st century. "Agri-environmentalism" has been a buzzword since the Rio Environment Summit of 1992, but the impact of changes in policy-making reaches beyond the agriculture and ecology implied in the term, to embrace the cultural landscape. This volume outlines the changes that have taken place and reviews responses to them in the form of innovative land management systems. Contributors in government, private practice, and academia provide a lively and at times discordant discussion on the issues surrounding archaeology, nature conservation, and the social perception of the countryside.
In a period of globalization there has been a startling resurgence of nationalism, regionalism, and other assertions of local identity, reflected in the boom in the heritage industry in all its forms, from education in oral and social history to entertainment and tourism. But how are ideas of a unified culture and nationhood created out of the diversity of modern society? This volume gathers key writings from leading thinkers in cultural studies, cultural history, and museum studies to ask what role cultural institutions play in creating and shaping our sense of ourselves as a nation. With an international perspective focusing on the US, France, Australia, the UK and India, the contributors investigate whether cultural artefacts can represent all of us equally, as members of a given nation. The opening section explores the strategies involved in creating and sustaining a national culture, such as the standardization of language and the sidelining of regional cultures. In the second section, contributors examine the way the past is preserved, represented and consumed as our "heritage". Tracing the growth of "heritage culture" from the founding of the National Trust in 1895, to the National Heritage Acts of the 1980s, key figures in the heritage debate ask why it has become important for nations to preserve the past, and in whose name it is preserved and displayed. The third section looks at the historical development of the public museum, examining the development of conventions of classification and display, and stressing the link between the emergence of museums and the development of the modern nation state. In the final section, contributors focus on issues facing museums today: the difficulties they now encounter when facing the competing demands and interests of public funding bodies, tourist, and local or ethnically specific communitities, and argue that museums cannot continue to operate as if they are the repositories of objective and universal knowledge.
Malaro focuses on collection-related problems and legal entanglement issues, reviews relevant cases and court decisions, and gives advice on when a museum should seek legal counsel. Completely revised, expanded, and updated! The new edition includes discussion of stolen artwork, developments in copyright, and digital imaging. This easy-to-use text provides outlines, checklists, and model documents.
Table of Contents
List of Figures
Preface
Acknowledgments
Introduction
Footnote Abbreviations and Citations
Pt. 1. The Museum
Ch. I. What Is a Museum? What Is Required of Its Board Members?
Ch. II. Museums Are Accountable to Whom?
Pt. 2. The Collection
Ch. III. Collection Management Policies
Ch. IV. The Acquisition of Objects: Accessioning
Ch. V. The Disposal of Objects: Deaccessioning
Ch. VI. Loans: Incoming and Outgoing
Ch. VII. Unclaimed Loans
Ch. VIII. International Loans
Ch. IX. Objects Left in the
Table of Contents
List of Figures
Preface
Acknowledgments
Introduction
Footnote Abbreviations and Citations
Pt. 1. The Museum
Ch. I. What Is a Museum? What Is Required of Its Board Members?
Ch. II. Museums Are Accountable to Whom?
Pt. 2. The Collection
Ch. III. Collection Management Policies
Ch. IV. The Acquisition of Objects: Accessioning
Ch. V. The Disposal of Objects: Deaccessioning
Ch. VI. Loans: Incoming and Outgoing
Ch. VII. Unclaimed Loans
Ch. VIII. International Loans
Ch. IX. Objects Left in the
An up-to-date compendium of marketing analysis and techniques for all flavors of museum. This book includes detailed marketing strategies to find the visitor, determine their wants and meet those desires. All aspects of museum work is presented: fund raising, exhibit development, collection policy, staff development, etc. We have used the guidance of this book to frame future expansion of the Minnesota Transportation Museum in St. Paul, MN.
Includes detailed charts to develop mission statements, arketing plans, interview visitors, develop advertising, perform continuing assessment of the museum.
Review in German / Rezension in deutsch
Ein Licht im Dunkel des Museumsmarketing. Endlich gibt es ein Buch, daß sich mit den Themen Museumsmarketing und Museumsstrategie intensiv und umfassend beschäftigt. Bei der Literaturrecherche zu meiner Diplomarbeit war dieses Buch ein erster Lichtblick. Die Brüder Neil und Philip Kotler, seit Jahrzehnten Kenner und Philip eine der Lichtgestalten des amerikanischen Marketing, geben einen systematischen, zeitgemäßen Überblick über strategische und operationale Probleme von Museen und bieten ausführliche Lösungsansätze zu allen Problembereichen. Dabei werden auch aktuelle, z.T. innovative Konzepte vorgestellt, wie z.B. die Möglichkeiten, die sich aus einer Museums-Web Page ergeben. Sehr interessant sind auch die zahlreichen Beispiele aus der Praxis von, welche die theoretischen Überlegungen der Autoren nachvollziehbar machen. Auch wenn es sehr schwierig ist, all die verschiedenen Museumstypen in einem Buch zu berücksichtigen, so ist das Ergebnis des vorliegenden Buches durchaus sehr positiv. Philip Kotler, der ja insbesondere dafür berühmt wurde, daß er das Marketing-Konzept "verbreiterte" (Broadening the Marketing-Concept), indem er es auf den Nonprofit-Bereich ausdehnte, paßt dieses breitere Konzept der spezifischen Situation der Museen an und präsentiert (mit seinem Bruder Neil) einen guten theoretischen Museumsmarketing-Ansatz. Auch wenn es im Buch primär um amerikanische Museen geht, so lassen sich auch für das deutsche Museumswesen viele brauchbare Anregungen daraus gewinnen. Sicherlich gibt es Unterschiede in der Einstellung zu Museen und zum Marketing dies- und jenseits des Atlantiks, aber vielleicht ist dies gerade der Grund, warum die Lektüre des Buches sehr spannend ist. Obwohl ich persönlich das Buch für eine theoretische Arbeit benutzt habe, glaube ich, daß es gerade für Führungskräfte und Mitarbeiter im Museumswesen von großem Nutzen sein kann.
About the author
Philip Kotler is Professor of International Marketing at Northwestern University (Kellogg School of Management, Evanston, Illinois)
Includes detailed charts to develop mission statements, arketing plans, interview visitors, develop advertising, perform continuing assessment of the museum.
Review in German / Rezension in deutsch
Ein Licht im Dunkel des Museumsmarketing. Endlich gibt es ein Buch, daß sich mit den Themen Museumsmarketing und Museumsstrategie intensiv und umfassend beschäftigt. Bei der Literaturrecherche zu meiner Diplomarbeit war dieses Buch ein erster Lichtblick. Die Brüder Neil und Philip Kotler, seit Jahrzehnten Kenner und Philip eine der Lichtgestalten des amerikanischen Marketing, geben einen systematischen, zeitgemäßen Überblick über strategische und operationale Probleme von Museen und bieten ausführliche Lösungsansätze zu allen Problembereichen. Dabei werden auch aktuelle, z.T. innovative Konzepte vorgestellt, wie z.B. die Möglichkeiten, die sich aus einer Museums-Web Page ergeben. Sehr interessant sind auch die zahlreichen Beispiele aus der Praxis von, welche die theoretischen Überlegungen der Autoren nachvollziehbar machen. Auch wenn es sehr schwierig ist, all die verschiedenen Museumstypen in einem Buch zu berücksichtigen, so ist das Ergebnis des vorliegenden Buches durchaus sehr positiv. Philip Kotler, der ja insbesondere dafür berühmt wurde, daß er das Marketing-Konzept "verbreiterte" (Broadening the Marketing-Concept), indem er es auf den Nonprofit-Bereich ausdehnte, paßt dieses breitere Konzept der spezifischen Situation der Museen an und präsentiert (mit seinem Bruder Neil) einen guten theoretischen Museumsmarketing-Ansatz. Auch wenn es im Buch primär um amerikanische Museen geht, so lassen sich auch für das deutsche Museumswesen viele brauchbare Anregungen daraus gewinnen. Sicherlich gibt es Unterschiede in der Einstellung zu Museen und zum Marketing dies- und jenseits des Atlantiks, aber vielleicht ist dies gerade der Grund, warum die Lektüre des Buches sehr spannend ist. Obwohl ich persönlich das Buch für eine theoretische Arbeit benutzt habe, glaube ich, daß es gerade für Führungskräfte und Mitarbeiter im Museumswesen von großem Nutzen sein kann.
About the author
Philip Kotler is Professor of International Marketing at Northwestern University (Kellogg School of Management, Evanston, Illinois)
In this book, a number of remarkable case studies from museums and galleries around the world give a fascinating insight into the planning, development and realization of a range of initiatives in diverse environments, highlighting the need for collaboration, commitment and strategic planning. Sponsored by the Tate Gallery, this easy-reference Manual provides invaluable advice and guidance for anyone involved in the creation, development and management of museums.
With increasing pressure on museums to be more commercial and more professional, those working in museums find that they need to know about marketing. In response to this need, Marketing the Museum is the first book to apply the concepts and principles of marketing to the museum world. Fiona McLean works out whether it is possible to define a "product" and "customer" when talking about museums. She also examines how these models need to be adapted if one is going to successfully attract more visitors to exhibitions. She guides the museum professional to the ways in which museums can overcome the numerous hurdles on the route to truly achieving a marketing orientation and gives practical guidelines to the specific ways in which marketing can be tailored to the needs of museums and become a useful as well as an acceptable part of today's museums in achieving their ultimate purpose in serving the community.
About the author
Fiona McLean is a lecturer in the Department of Marketing at the University of Stirling, Scotland, and has published widely on museum and heritage marketing. She was the director of a Leverhulme Trust funded project investigating the construction of identity at the Museum of Scotland.
About the author
Fiona McLean is a lecturer in the Department of Marketing at the University of Stirling, Scotland, and has published widely on museum and heritage marketing. She was the director of a Leverhulme Trust funded project investigating the construction of identity at the Museum of Scotland.
Historic house museums can be found in nearly every city in the United States and Canada. Despite their popularity, it is not uncommon to find museums that are in poor repair, their collections neglected and their staffs grossly overworked. Many are run by well-meaning and hard-working volunteers who have little or no professional training. Often they survive on shoestring budgets and are able to present only limited programs. Serving both as a hands-on guide and reference, this book examines these problems, offering practical advice and solutions which can be easily implemented. Its useful "lessons" include governance, where to find help, care of collections, conservation, security, and interpretation--all designed to increase the professionalism of the historic house museum.
Reviews
"Pulls together a range of information in a handy reference written specially for the nonprofessional house museum staff....Its candid language, extensive subject-specific bibliographies, and lists of additional resources provide a strong foundation on which staff can build a commitment to professional standards for the care and interpretation of historical resources."--Winterthur Portfolio
"This book is invaluable not only to curators of house museums but also for all owners of old houses."--Preservation Notes Newsletter
Further Links
http://www.preservationdirectory.com
Reviews
"Pulls together a range of information in a handy reference written specially for the nonprofessional house museum staff....Its candid language, extensive subject-specific bibliographies, and lists of additional resources provide a strong foundation on which staff can build a commitment to professional standards for the care and interpretation of historical resources."--Winterthur Portfolio
"This book is invaluable not only to curators of house museums but also for all owners of old houses."--Preservation Notes Newsletter
Further Links
http://www.preservationdirectory.com
Table of Content
Acknowledgments
Preface
Introduction
I. Museums and Money: Understanding the Effects of External Forces on Cultural Organizations
II. From Philanthropy to Funding: Changes in Museum Patronage
III. Pictures at an Exhibition: The Impact of Funding
IV. From Scholarship to Management: Changes in Museums as Organizations
V. Conclusion: Museums and Mammon?
References
Methodological Appendix
Index
Reviews
You can guess the fun a sociologist might have if turned loose in the museum world. Be warned - analyzing motivation and money is tricky business, especially with non-profits. Museums & Money is an interesting overview of art museum exhibit funding from 1960 1986, but only some of its conclusions survive into the 21st century.
Sociologist Victoria Alexander devoured enormous amounts of information in sociological studies of organizations, and in annual reports from 36 American art museums. She carefully coded information on exhibit topic, format, funder type, stakeholder and frequency, searching for patterns in exhibit funding at art museums. The difficulty interpreting this book is not in the math, but in determining if differences between her discoveries and todays funding environment come from the books age (published in 1996), the highly individualistic experiences of museums, or a bias for wounded curators.
Her research demonstrates that from 1960 through 1966, exhibit support came primarily from wealthy individuals. From 1966 on, the donor matrix began to include organizational givers, developing by 1974 into a mosaic of individuals, corporations, foundations and governments. Thats clearly todays experience.
Alexanders demonstration that types of donors exhibit patterns in funding, but in format, not content, is interesting. For example, as corporate and government funding becomes more prevalent, so do traveling exhibits. Scholarly formats increase with government and foundation funding along the timeline. Her research indicates that organizational donor interests may overlap, but not usually with individuals funding interests. Not coincidentally the decrease in single-collector exhibits matches the decreased influence of individual philanthropists over the study period.
There is a significant increase in the number of museum exhibitions during the study, with the average doubling to 17 annually by 1986. In that larger pool of exhibits, Alexander writes, the frequency of externally funded exhibits increases while internally funded ones decrease comparatively. There is no information to explain the cause, yet somehow she concludes that, because museums self-fund exhibits of more esoteric art, past and present, these and other unfunded exhibitions represent true curator desires.curators most likely value exhibitions that are internally funded (they would not be mounted otherwise)... . Somebody values the exhibition, curator or not. I believe Alexander underestimates the talent and professionalism of museum staff. Many resources, in addition to money, must be available to support an exhibit: art or artifacts, space, research, staff, and time; and many people make an exhibit happen: registrars, preparators, educators, writers, directors, not just curators.
Alexanders mistake is setting aside her statistical research for museum analysis. She errs by interviewing museum staff, not funders, to learn about funders interests. She meets with just twelve museum staff at only eight northeastern institutions. They are not randomly selected targets, but people whom [she] knew through personal contacts. That small sample cannot make a case for what she calls tension between curators pursuing scholarly work and directors chasing money ostensibly primarily available for broader-appeal formats. Still, she concludes that two institutional logics have collided. The first logic is the art historical, conservation and collection-oriented vision of museums held by curators. The second is the logic of business and of modern capitalism whichis maintained by administrators, board members and, to a large degree, by museum directors. These conflicting institutional patterns lock their adherents into pitched battles, where participants vie for ascendancy of their view.
She protests too much.
Each museum operates idiosyncratically, balancing unique internal and external challenges as funders and exhibit opportunities change. Alexanders perception of an internal struggle of scholarship versus showmanship is far more dramatic than current conditions indicate. While museum professionals agree there can be a struggle between scholarship and broader appeal, pitched battles ensue primarily at institutions with traditional top-down management cultures. Organizations with more collaborative internal cultures (and staff) suffer less from Alexanders perceived tension. Internal resource shifting is an antidote: money gets moved from where it isnt needed (a funded project) to where it is needed (an unfunded project), a coping mechanism she identifies near the end of her study -- another trend that has continued into the 21st century.
There is some very interesting historical information here, but Alexander allows her bias, a willingness to see internal conflict, and a far too limited interview pool to guide her to poor conclusions. At least for her sake she discovers that the evolving funding environment provides more money for a wide variety of exhibits, whether the curators choice or someone elses. Now we need a new survey of funding conditions in museums one with a museum professional as co-author. ---Charity Channel
Acknowledgments
Preface
Introduction
I. Museums and Money: Understanding the Effects of External Forces on Cultural Organizations
II. From Philanthropy to Funding: Changes in Museum Patronage
III. Pictures at an Exhibition: The Impact of Funding
IV. From Scholarship to Management: Changes in Museums as Organizations
V. Conclusion: Museums and Mammon?
References
Methodological Appendix
Index
Reviews
You can guess the fun a sociologist might have if turned loose in the museum world. Be warned - analyzing motivation and money is tricky business, especially with non-profits. Museums & Money is an interesting overview of art museum exhibit funding from 1960 1986, but only some of its conclusions survive into the 21st century.
Sociologist Victoria Alexander devoured enormous amounts of information in sociological studies of organizations, and in annual reports from 36 American art museums. She carefully coded information on exhibit topic, format, funder type, stakeholder and frequency, searching for patterns in exhibit funding at art museums. The difficulty interpreting this book is not in the math, but in determining if differences between her discoveries and todays funding environment come from the books age (published in 1996), the highly individualistic experiences of museums, or a bias for wounded curators.
Her research demonstrates that from 1960 through 1966, exhibit support came primarily from wealthy individuals. From 1966 on, the donor matrix began to include organizational givers, developing by 1974 into a mosaic of individuals, corporations, foundations and governments. Thats clearly todays experience.
Alexanders demonstration that types of donors exhibit patterns in funding, but in format, not content, is interesting. For example, as corporate and government funding becomes more prevalent, so do traveling exhibits. Scholarly formats increase with government and foundation funding along the timeline. Her research indicates that organizational donor interests may overlap, but not usually with individuals funding interests. Not coincidentally the decrease in single-collector exhibits matches the decreased influence of individual philanthropists over the study period.
There is a significant increase in the number of museum exhibitions during the study, with the average doubling to 17 annually by 1986. In that larger pool of exhibits, Alexander writes, the frequency of externally funded exhibits increases while internally funded ones decrease comparatively. There is no information to explain the cause, yet somehow she concludes that, because museums self-fund exhibits of more esoteric art, past and present, these and other unfunded exhibitions represent true curator desires.curators most likely value exhibitions that are internally funded (they would not be mounted otherwise)... . Somebody values the exhibition, curator or not. I believe Alexander underestimates the talent and professionalism of museum staff. Many resources, in addition to money, must be available to support an exhibit: art or artifacts, space, research, staff, and time; and many people make an exhibit happen: registrars, preparators, educators, writers, directors, not just curators.
Alexanders mistake is setting aside her statistical research for museum analysis. She errs by interviewing museum staff, not funders, to learn about funders interests. She meets with just twelve museum staff at only eight northeastern institutions. They are not randomly selected targets, but people whom [she] knew through personal contacts. That small sample cannot make a case for what she calls tension between curators pursuing scholarly work and directors chasing money ostensibly primarily available for broader-appeal formats. Still, she concludes that two institutional logics have collided. The first logic is the art historical, conservation and collection-oriented vision of museums held by curators. The second is the logic of business and of modern capitalism whichis maintained by administrators, board members and, to a large degree, by museum directors. These conflicting institutional patterns lock their adherents into pitched battles, where participants vie for ascendancy of their view.
She protests too much.
Each museum operates idiosyncratically, balancing unique internal and external challenges as funders and exhibit opportunities change. Alexanders perception of an internal struggle of scholarship versus showmanship is far more dramatic than current conditions indicate. While museum professionals agree there can be a struggle between scholarship and broader appeal, pitched battles ensue primarily at institutions with traditional top-down management cultures. Organizations with more collaborative internal cultures (and staff) suffer less from Alexanders perceived tension. Internal resource shifting is an antidote: money gets moved from where it isnt needed (a funded project) to where it is needed (an unfunded project), a coping mechanism she identifies near the end of her study -- another trend that has continued into the 21st century.
There is some very interesting historical information here, but Alexander allows her bias, a willingness to see internal conflict, and a far too limited interview pool to guide her to poor conclusions. At least for her sake she discovers that the evolving funding environment provides more money for a wide variety of exhibits, whether the curators choice or someone elses. Now we need a new survey of funding conditions in museums one with a museum professional as co-author. ---Charity Channel
Museums: A Place to Work is the definitive guide to museum practices, to professional positions, and how to prepare, look for and find jobs. Designed to aid both the uninitiated and the professional, it is an extremely useful tool that uniquely projects museum career information in the total context of what a museum is and does.
World-wide, museums have become the central cultural and educational resource for preserving and interpreting cultural and natural history, making it extremely important that they attract the best, brightest and most creative people to work in them. This book, as no other, provides the guidance prospective museum professionals need to encourage them, to provide understanding and to assist them in pursuing a museum career.
Museums:A Place to Work covers all the issues involved in museums: the importance of ethics and professionalism, legal concerns, the descriptions and requirements of thirty professional positions, support positions, staff/volunteer relations and training and preparation. Its most unique feature are interviews with noted museums professionals who share their views of their museum careers.
With societal changes, advanced technologies, cultural diversity, gender issues, wider audiences, environmental problems, social change, and people with disabilities--all affecting the collecting, preserving, researching, exhibiting, and interpreting operations of museums--this book educates the vast potential readership as to museum career for today and tomorrow.
Co-published with the Smithsonian Institution
World-wide, museums have become the central cultural and educational resource for preserving and interpreting cultural and natural history, making it extremely important that they attract the best, brightest and most creative people to work in them. This book, as no other, provides the guidance prospective museum professionals need to encourage them, to provide understanding and to assist them in pursuing a museum career.
Museums:A Place to Work covers all the issues involved in museums: the importance of ethics and professionalism, legal concerns, the descriptions and requirements of thirty professional positions, support positions, staff/volunteer relations and training and preparation. Its most unique feature are interviews with noted museums professionals who share their views of their museum careers.
With societal changes, advanced technologies, cultural diversity, gender issues, wider audiences, environmental problems, social change, and people with disabilities--all affecting the collecting, preserving, researching, exhibiting, and interpreting operations of museums--this book educates the vast potential readership as to museum career for today and tomorrow.
Co-published with the Smithsonian Institution
Collections management is a fundamental apart of museum work, yet recently the poor state of museum collections has been highlighted in terms of physical care and documentation. As a response, there has been increased emphasis on the development of standards for collections management.
Anne Fahy brings together recent papers highlighting some of the major issues affecting collections management in the 1990s concentrating particularly on eight aspects. The book identifies the main issues relating to collecting and to the disposal of collections and discusses why museums should develop appropriate documentation systems. The book also examines the status of research within museums, the various sources of advice relating to security and also addresses the basics of insurance and indemnity.
Collections Management is an invaluable and very practical introduction for museum professionals. It also provides up-to-date information about initiatives and issues for anyone involved in collections management.
Anne Fahy brings together recent papers highlighting some of the major issues affecting collections management in the 1990s concentrating particularly on eight aspects. The book identifies the main issues relating to collecting and to the disposal of collections and discusses why museums should develop appropriate documentation systems. The book also examines the status of research within museums, the various sources of advice relating to security and also addresses the basics of insurance and indemnity.
Collections Management is an invaluable and very practical introduction for museum professionals. It also provides up-to-date information about initiatives and issues for anyone involved in collections management.
Museum educators and school teachers met for three workshops on establishing closer working relations between schools and museums. Each partners expectations of the other, learning theories in museums, field trips, outreach projects, community as classroom, and cultural diversity constitute the core contents of the book. An appendix includes an array of successful program materials used by museums in Pennsylvania.
Published in 2000
Published in 2000
A thoughtful book about the basics of how museums and communities interact and the potential to empower and better the communities in which they exist.
Paperback: 624 pages
Publisher: Smithsonian Books (May 1, 1992)
Paperback: 624 pages
Publisher: Smithsonian Books (May 1, 1992)
The result of a debate organized by the Museums Association in 1989, between some of the world's leading museum professionals, active politicians, economists and marketing specialists, looking at real problems faced now and in the future.
Museum and art galleries have never been so much in the news as they have been over the past decade. Yet public focus at both professional and non-specialist levels has been remarkable for what has been accidentally or deliberatley left out of recent debates. Moving beyond the narrow issues of professional practice, Museums 2000 probes the political, economic and cultural realities which affect museums today. Because the contributos are drawn from the museum profession and the wider political, academic and business community worldwide, the book is truly international, reflecting the issues which affect all museums.
Table of Content
1 Museums 2000 and the future of museums
2 Opening address: Museums 2000
3 Politics and museums 1: Politics and the role of museums in the rescue of identity
4 Politics and museums 2: Art and politics
5 People and museums 1: 'Reading' museums
6 People and museums 2: People's participation in science museums
7 Professionals and museums 1: Museum professionals - the endangered species
8 Professionals and museums 2: Rambling reflections of a museum man
9 Profit and museums 1: Funding, sponsorship and corporate support
10 Profit and museums 2: Options and unique commercial opportunities for museums now and in the future
Speakers and panel members
Index
Reviews
`..at times profound, passionate, provocative...should be read by everyone interested in the future of museums.' ARTnews
Museum and art galleries have never been so much in the news as they have been over the past decade. Yet public focus at both professional and non-specialist levels has been remarkable for what has been accidentally or deliberatley left out of recent debates. Moving beyond the narrow issues of professional practice, Museums 2000 probes the political, economic and cultural realities which affect museums today. Because the contributos are drawn from the museum profession and the wider political, academic and business community worldwide, the book is truly international, reflecting the issues which affect all museums.
Table of Content
1 Museums 2000 and the future of museums
2 Opening address: Museums 2000
3 Politics and museums 1: Politics and the role of museums in the rescue of identity
4 Politics and museums 2: Art and politics
5 People and museums 1: 'Reading' museums
6 People and museums 2: People's participation in science museums
7 Professionals and museums 1: Museum professionals - the endangered species
8 Professionals and museums 2: Rambling reflections of a museum man
9 Profit and museums 1: Funding, sponsorship and corporate support
10 Profit and museums 2: Options and unique commercial opportunities for museums now and in the future
Speakers and panel members
Index
Reviews
`..at times profound, passionate, provocative...should be read by everyone interested in the future of museums.' ARTnews
The International Journal of Heritage Studies (IJHS) is the academic, refereed journal for scholars and practitioners from many disciplines with a common involvement in the heritage. Heritage varies from the aesthetic object conserved in a museum to wildlife conserved within a nature reserve. Articles concern Museum Studies, Tourism Studies, Heritage Theory and History, Conservation and Restoration Techniques and Law, Cultural Studies, Interpretation and Design.
Website: http://www.tandf.co.uk/journals/titles/13527258.asp
Website: http://www.tandf.co.uk/journals/titles/13527258.asp