Museums have been active in shaping knowledge over the last six hundred years. Yet what is their function within today's society? At the present time when funding is becoming increasingly scarce, difficult questions are being asked about the justification of museums. Museums and the Shaping of Knowledge presents a critical nature of museums. Through the examination of case studies, Eilean Hooper-Greenhill reveals a variety of different roles for museums in the production and shaping of knowledge. Today, museums are once again organising their spaces and collections to present themselves as environments for experimental and self-directed learning.

A Companion to Museum Studies captures the multidisciplinary approach to the study of the development, roles, and significance of museums in contemporary society. Collects first-rate original essays by leading figures from a range of disciplines and theoretical stances, including anthropology, art history, history, literature, sociology, cultural studies, and museum studies Examines the complexity of the museum from cultural, political, curatorial, historical and representational perspectives Covers traditional subjects, such as space, display, buildings, objects and collecting, and more contemporary challenges such as visiting, commerce, community and experimental exhibition forms

What if museums could harness the emotional and intellectual connections people have to personal and everyday objects to create richer visitor experiences? In this book, Elizabeth Wood and Kiersten Latham present the Object Knowledge Framework, a tool for using objects to connect museum visitors to themselves, to others, and to their world. They discuss the key concepts underpinning our lived experience of objects and how museums can learn from them. Then they walk readers through concrete methods for transforming visitor-object experiences, including exercises and strategies for teams developing exhibit themes, messages, and content, and participatory experiences.

Debating the practices of museums, galleries, and festivals, Exhibiting Cultures probes the often politically charged relationships among aesthetics, contexts, and implicit assumptions that govern how art and artifacts are displayed and understood. The contributors—museum directors, curators, and scholars in art history, folklore, history, and anthropology—represent a variety of stances on the role of museums and their function as intermediaries between the makers of art or artifacts and the eventual viewers.

Bringing the reader the very best of modern scholarship from the heritage community, this comprehensive reader outlines and explains the many diverse issues that have been identified and brought to the fore in the field of heritage, museums and galleries over the past couple of decades. The volume is divided into four parts: presents overviews and useful starting points for critical reflection focuses more specifically on selected issues of significance, looking particularly at the museum's role and responsibilities in the postmodern and postcolonial world concentrates on issues related to cultural heritage and tourism dedicated to public participation in heritage, museum and gallery processes and activities. The book provides an ideal starting point for those coming to the study of museums and galleries for the first time.

凡是艺术家，都有失落的艺术品，无一例外。 越来越多的艺术品在消失，只有很少最终失而复得，往往也是在历经戏剧性的追查之后。 世界上最重要的失落艺术珍品都有哪些？ 一部寻找被毁、失窃、遭人为破坏的艺术品的指南。在作者的指引下，我们生平第一次进入了一家失落艺术品博物馆，其经典藏品超过全世界现有博物馆藏量的总和，从古希腊罗马的雕塑到宗教改革运动中捣毁的圣像和绘画，从纳粹摧毁的艺术品到ISIS掠夺和毁灭的文物……这样一家博物馆触目惊心地提醒世人，人间珍宝，得之难而失之易。 《失落艺术品博物馆》 不但考察了一些失落艺术品的不幸遭遇，而且考察了一些失而复得的艺术品的奇遇。伊斯坦布尔圣索菲亚教堂金光闪闪的拜占庭时代马赛克画，被石膏掩藏了400年后，在1934年又重见天日。借助X光线等技术手段，戈雅、毕加索和马列维奇一度被涂抹掉的画作再次露出了真容。2017年，从一家美术馆失窃的一幅德•库宁油画，在城郊的一间卧室墙上悬挂了三十多年后物归原主。诸如此类的失而复得，为我们带来了希望，并非所有失落的艺术品，都已必然失落。 有的历经辗转最终失而复得。 ----------------------------------------------------------------------------------------------- 外媒报道 《失落的艺术》细心记载了战争、劫掠、事变、人为破坏和自然灾害等暴力和怪相对艺术品造成的破坏，解释了为什么保护艺术品避免类似的危险至关重要。即使不谈书中记载的丁格利和本宁等从事自毁艺术的艺术家，艺术的创造和毁灭也息息相连。——《经济学人》网站 这是一本出色的艺术指南，插图精美；书中艺术品的命运，往往残酷得令人惊心。——《布法罗新闻》 查尼挑选出历史上一些最伟大的失落文化艺术品，绘声绘色地讲述了它们苦涩的结局。——《彭博社》 畅销书作家诺亚•查尼的新著……流畅的文笔……迷人的故事……生动地提醒我们：世间珍宝，得之难而失之易。——ArtsBeat 在这本新著中，畅销书《伪造的艺术》的作者诺亚•查尼再次回到了艺术的地下世界，审视失窃、遭劫或毁于战火中的艺术品。书中有些艺术品是意外失落，有些毁于天灾，有些因其包含的图像遭人为摧毁。最引人注目的是那些作为原料回收利用的杰作。——CreativeBloq.com ---------------------------------------------------------------------------------------------- 国内媒体《解放日报》《文汇报》《澎湃新闻》《新京报》《三联生活周刊》《新民周刊》《北京晚报》《百道网》等均给予关注，进行了重点推荐和报道。

世界各地的博物馆有着相同的需求，面临同样的挑战。对中小型博物馆而言，由于阅读和培训的时间通常十分有限，要跟得上新的观点和实践中的诸多变化，是极富挑战性的。《博物馆基础》服务于那些靠有限的资源和极少的专业员工运营的博物馆；同时，书中提供的综合训练方案也适用于希望全面了解博物馆实务的专业读者。 本书作者从丰富的实践经验出发，为博物馆方方面面的工作提供了一份基础指导手册，涵盖观众的发展与教育、藏品的管理和保护，以及博物馆的组织和未来发展规划。 《博物馆基础》的结构根据单元划分，共有109个单元，包含案例研究、项目工作和团体讨论，既可作为博物馆日常管理的参考书，也可作为岗前和在职培训项目的主要教材。 《博物馆基础》第3版新增百余张图表，并提供具有实用价值的词汇表、精选书目和相关信息来源。同时，《博物馆基础》得到配套网站（www.routledge.com/cw/ambrose）的支持，为读者提供了大量的额外资源。 《博物馆基础》是普遍适用于世界各地不同类型博物馆的基础工作手册，可以为那些专业人员稀缺、经济资源有限的博物馆提供良好的实践纲要，同时也可以作为博物馆员工和志愿者培训的基础工作教程。第三版《博物馆基础》在1993年第一版和2006年第二版基础上修订完成，充分考虑了近年来博物馆在经济、社会、文化和专业领域所经历的重要变化，内容覆盖面十分宽泛，形成8个部分、109个单元的框架结构，扩充了一百多张流程图和更新辅助资源的相关信息，其实用性大为增强。较之前版，首次引进中国的第三版《博物馆基础》更侧重于藏品的诠释和有效管理、观众的研究与服务，以及博物馆员工和志愿者、资产和资源的管理等。