A brand new and fully updated edition of this seminal work on archival preservation. Access to archival material – the documentary heritage of people all over the world that gives them their identity and ensures their rights – is dependent on the survival of fragile materials: paper, parchment, photographic materials, audiovisual materials and, most recently, magnetic, optical and increasingly digital formats. The primary importance of such survival is widely acknowledged but sometimes overlooked in a rush to provide ever better means of access. But without the basic material, no services can be offered. Preservation is at the heart of archival activity. Archivists in all types of organizations face questions on how to plan a preservation strategy in less than perfect circumstances, or deal with a sudden emergency. This book considers the causes of threats to the basic material, outlines the preservation options available and offers flexible solutions applicable in a variety of situations. It offers a wide range of case studies and examples from international specialists. This revised edition includes additional material on digital preservation and green building as well as a new chapter on the management and training of volunteers, reflecting a key concern for many archival institutions. Key topics are: • Understanding archival materials and their characteristics • Managing digital preservation • Archive buildings and their characteristics • Safeguarding the building and its contents • Managing archival storage • Managing risks and avoiding disaster • Creating and using surrogates • Exhibiting archives • Handling the records • Managing a pest control programme • Training and the use of volunteers • Putting preservation into practice. Readership: Archivists, librarians, curators and enthusiasts, trained and untrained, in museums, local studies centres and voluntary societies in need of good clear advice.

Art + Archive provides an in-depth analysis of the connection between art and the archive at the turn of the twenty-first century. The book examines how the archive emerged in art writing in the mid-1990s and how its subsequent ubiquity can be understood in light of wider social, technological, philosophical and art-historical conditions and concerns. Deftly combining writing on archives from different disciplines with artistic practices, the book clarifies the function and meaning of one of the most persistent artworld buzzwords of recent years, shedding light on the conceptual and historical implications of the so-called archival turn in contemporary art.

Vanity Fair 100 Years showcases a century of personality and power, art and commerce, crisis and culture—both highbrow and low—in this collection of images that graced the pages of magazine, and some published for the very first time. From its inception in 1913, through the Jazz Age and the Depression, to its reincarnation in the boom-boom Reagan years, to the image-saturated Information Age, Vanity Fair has presented the modern era as it has unfolded, using wit, imagination, peerless literary narrative, and bold, groundbreaking imagery from the greatest photographers, artists, and illustrators of the day. Edited by Vanity Fair editor Graydon Carter, this sumptuous book takes a decade-by-decade look at the world as seen by the magazine, stopping to describe the incomparable editor Frank Crowninshield and the birth of the Jazz Age Vanity Fair, the magazine’s controversial rebirth in 1983, and the history of the glamorous Vanity Fair Oscar Party. “The book is a stunning artifact that begets staring, less for the words and publishing industry than as an exercise in visual storytelling reflected through the prism of society and celebrity. The best photographers, the best designers, the best illustrators all came together over Vanity Fair’s contents, and the book unfolds in page after page of stunningly rendered images, some iconic and some that never even ran.” —New York Times Book Review

This book queries, through the prism of the Convention for the Protection and the Promotion of the Diversity of Cultural Expressions (the Convention), the ways in which the processes and substance of international law-making have shifted in response to new technologies and new actors. The essays, written by recognised experts in the field, engage deeply with the practice under the Convention. The 4 parts examine: the rise of new actors and their impact on the Convention's law-making and implementation; the specific implementation of Article 21; the role of cultural communities in promoting diversity of cultural expressions; and the effectiveness and coherence of the Convention. Scholars and practitioners in the field of international law of culture and international cultural cooperation will welcome this fascinating new book.

The first major book to consider the life and work of Robert Arneson, A Troublesome Subject tells the fascinating story of how a high school art teacher transformed himself into an artist of international stature and ambition. Representing the full scope of ArnesonÕs career in a rich survey of color reproductions, this book is at once a study of the trajectory of contemporary culture, the work of Robert Arneson, and the relationship between the two. It shows how ArnesonÕs work articulated the crisis of narcissism that has defined American culture since 1970. Jonathan Fineberg develops his ongoing work toward a psychosocial history of art as he proceeds through ArnesonÕs careerÑchronicling his early life, the formation of a personal style, and finding a unique subject matter in his famous post-1970 turn to self-portraiture.

How did exhibitions become a vital tool for public communication in early twentieth century Britain? Showing resistance reveals how exhibitions were taken up by activists and politicians from 1933 to 1953, becoming manifestos, weapons of war and a means of signalling political solidarities. Drawing on dozens of examples mounted in empty shops, workers’ canteens, station ticket halls and beyond, this richly illustrated book shows how this overlooked form was created by significant makers including artists Paul Nash, John Heartfield and Oskar Kokoschka, architect Erno Goldfinger and photographer Edith Tudor-Hart. Showing resistance is the first study of exhibitions as communications in mid-twentieth century Britain.

This book advocates the archival capacity of rock art and uses archival perspectives to analyse the chronology of paintings in order to formulate a framework for their historicised interpretations.