Museum and Gallery Studies: The Basics (The Basics)

Museum and Gallery Studies: The Basics (The Basics)

By: Rhiannon Mason (author), Alistair Robinson (author)Paperback

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Museum and Gallery Studies: The Basics is an accessible guide for the student approaching Museum and Gallery Studies for the first time. Taking a global view, it covers the key ideas, approaches and contentious issues in the field. Balancing theory and practice, the book address important questions such as: What are museums and galleries? Who decides which kinds of objects are worthy of collection? How are museums and galleries funded? What ethical concerns do practitioners need to consider? How is the field of Museum and Gallery Studies developing? This user-friendly text is an essential read for anyone wishing to work within museums and galleries, or seeking to understand academic debates in the field.

About Author

Rhiannon Mason is Professor of Heritage and Cultural Studies and Head of the School of Arts and Cultures at Newcastle University, UK. Her teaching and research focuses on the role of heritage and memory institutions in mediating public understandings of people's histories, cultures and identities. Alistair Robinson is Director of Northern Gallery for Contemporary Art, having held positions at the Victoria & Albert Museum and National Museum of Photography Film & Television. He is undertaking research into museums of modern art collecting contemporary art. Emma Coffield is an Early Career Academic Fellow in Media, Culture, Heritage (MCH), at Newcastle University, UK. She is currently the MA programme leader for Art Museum and Gallery Studies. Her research focuses on contemporary art history, production and display, and the spatial politics of artistic practice.


Introduction What this book will do Who is this book for? What are museum and gallery studies? Museum and gallery studies around the world `Theory' and `practice'? Why study museums and galleries? Culture as `soft power' Conclusion Further reading Chapter 1: First principles What is a museum or gallery? * `New museology' Origins of museums The Louvre: a turning point Museum development: nationalism and colonialism Do all cultures have museums? Can anyone call any space `a museum'? What is an art gallery? What is an art museum or a museum or art? How many different kinds of museums and galleries are there? What are museums and galleries for? Why do societies have museums and galleries? Public Trust Heritage Heritage as institution, adjective or tradition Elite or `everyone's' heritage Conclusion Further reading Chapter 2: Collecting and Collections Curating and collecting Collecting the past Reconceptualising the discipline of `history' Acknowledging your own standpoint Tradition versus history Collecting `the present' for the future Collecting historical art Collecting contemporary art Collecting the intangible Collecting the digital The lives of objects Acquisitioning and accessioning Disposal and de-accessioning Creating Value Priceless objects and `market value' Regimes of Value: Exchanges and Exclusions Protecting the nation's interest: exports of cultural property Managing and caring for collections Conservation, preservation or restoration? Conclusion * Further reading: Chapter 3: Visitors and Audiences Who are museums and galleries for? Who visits museums and galleries? Understanding visitor profiles and global trends Understanding the statistics: an example Does it make a difference if museums are free or charge? Why do people visit? Understanding visitor motivations. Audience segmentation What is the difference between audiences, visitors and communities? Understanding `non-visitors' motivations Understanding access, and barriers to access Bourdieu's theory of cultural capital Are museums and galleries `white spaces'? Visiting patterns in relationship to staff demographics Inclusion initiatives and policy agendas Audience Development Building new audiences through community engagement Models of `community engagement' If communities can tell their own histories do we still need curators? Is working digitally one answer? Conclusions Further reading Chapter 4: The Business of Culture Who pays for what, for whom, and on whose behalf? What it costs: capital and revenue External funding sources: the state, the lottery, charities, donors, business The museum as entrepreneur: income generation and enterprise Fundraising, sponsorship, philanthropy, and `the gift' Autonomy and instrumentalisation Implication of cultural policy Governance, legal status and funding models The public interest and the private market Tourism, leisure and marketing Regeneration through culture (the `Bilbao effect') The `museum boom', 1980-2010 - costs and consequences Conclusions Further reading Chapter 5: Display, interpretation and learning What does `display' mean in a museum or gallery context? * Classic exhibition genres Telling and showing histories in space and time Working with spaces What are the relationships between display and knowledge? The gallery as `white cube' The `poetics' and `politics' of display Taking responsibility? Co-producing displays and sharing authorship Can objects `speak'? Making sense of what we see: the active visitor * Visitor behaviour in gallery settings From `education' to `learning' Creating accessibility for everyone Conclusions Further reading Chapter 6: Looking forward Power and politics Museums as a means to foster mutual understanding Museums and galleries as social activists Globalisation Changing perspectives Valuing culture Visitor trends Further reading Index.....................

Product Details

  • ISBN13: 9780415834551
  • Format: Paperback
  • Number Of Pages: 236
  • ID: 9780415834551
  • weight: 272
  • ISBN10: 0415834554

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