A successfully managed project is a carefully planned and organized effort. A critical and essential skill for any art service manager is project management—the ability to organize resources--labor, budgets, materials-- and handle constraints so that a project’s goals are successfully accomplished. Fine Art Movement and Storage: Project Management for the Visual Arts is a practical handbook for developing and managing multi-faceted projects from the project manager’s point of view, including estate moves, exhibition planning for preparators, storage setup, planning and maintenance, storage movement and planning, collection relocations, traveling exhibitions, art fairs, and the prioritizing of overlapping projects. It covers complex and advanced project management issues such as: Identifying your stake holders and foreseeing potential stake holder conflicts, Identifying the project’s goals and parameters, Outlining goals for initial and follow-up site visits, Guidelines for conducting a site visit, Planning for art and material staging, Estimating and quoting time, labor, and materials, Understanding and estimating hard and soft costs in your budget, Planning for contingencies, Developing budgets and timelines, Scheduling overlapping tasks, Creating daily goal sheets and project punch lists, Training and staffing your crew, Assigning crew leaders, Delegating project responsibilities, Managing quality control and industry standards, Understanding project completion, post completion, and follow up, and Managing multiple projects. Over 50 graphics help to make this a book you’ll use every day. Every art institution, art service company and individual that manages projects or anticipates a project will need and want to have access to this book as a resource, as a reference and as a training tool.

"This Final Report provides an in-depth analysis and recommendations based on the Commission's findings following outreach to communities throughout the United States."--Exec. summary.

Beyond their often beautiful exhibition halls, many museums contain vast, hidden spaces in which objects may be stored, conserved, or processed. Museums can also include unseen archives, study rooms, and libraries which are inaccessible to the public. This collection of essays focuses on this domain, an area that has hitherto received little attention. Divided into four sections, the book critically examines the physical space of museum storage areas, the fluctuating historical fortunes of exhibits, the growing phenomenon of publicly visible storage, and the politics of objects deemed worthy of collection but unsuitable for display. In doing so, it explores issues including the relationship between storage and canonization, the politics of collecting, the use of museum storage as a form of censorship, the architectural character of storage space, and the economic and epistemic value of museum objects. Essay contributions come from a broad combination of museum directors, curators, archaeologists, historians, and other academics.

While many museums have ignored public art as a distinct arena of art production and display, others have – either grudgingly or enthusiastically – embraced it. Some institutions have partnered with public art agencies to expand the scope of special exhibitions; other museums have attempted to establish in-house public art programs. This is the first book to contextualize the collaborations between museums and public art through a range of essays marked by their coherence of topical focus, written by leading and emerging scholars and artists. Organized into three sections it represents a major contribution to the field of art history in general, and to those of public art and museum studies in particular. It includes essays by art historians, critics, curators, arts administrators and artists, all of whom help to finally codify the largely unwritten history of how museums and public art have and continue to intersect. Key questions are both addressed and offered as topics for further discussion: Who originates such public art initiatives, funds them, and most importantly, establishes the philosophy behind them? Is the efficacy of these initiatives evaluated in the same way as other museum exhibitions and programs? Can public art ever be a “permanent” feature in any museum? And finally, are the museum and public art ultimately at odds, or able to mutually benefit one another?

How does humility feature as a part of human experience, and how can opportunities to decenter the self empower us through present day circumstances? Radical Humility is a collection of essays written by people attempting to be humble at a time when public humility is scarce. Contributors come from a diverse group of experts, activists, makers, scholars, and practitioners: philosophers, psychologists, artists; a librarian, a farmer, a lawyer, a U.S. Navy Captain, and others who've reflected upon the role of humility. Some are leading scholars in their field; others are as-yet unpublished writers. All--the farmer, the librarian, the journalist, the sailor--speak to the ordinary everyday actions that offer significant opportunity for restraint and reflection to empower us personally and politically. For every person who feels uneasy and diminished after subjecting the most intimate parts of their lives to Likes and Followers, and for every person who is uneasy with presidential boasting and disregard for truth, Radical Humility's writers' perspectives are crucial at this turning point in our personal and political lives. Contributors: Aaron Ahuvia, Russell Belk, Charles M. Blow, Richard C. Boothman, Agnes Callard, Lynette Clemetson, Tyler Denmead, Nadia Danienta, Mickey Duzyj, Kevin Em, Eranda Jayawickreme, Kevin Hamilton, Eranda Jayawickreme, Troy Jollimore, Melissa Koenig, Aric Rindfleisch, Valerie Tiberius, and Ami Walsh