Focusing on how museums prioritize and produce content, Hip Heritage demonstrates how economic issues play an ever-larger role in determining how cultural heritage is being framed and presented in contemporary heritage museums. Drawing on ethnographic fieldwork conducted by the authors at seven museums over the course of five years, this book offers an in-depth analysis of heritage museums in Nordic, Scandinavian and North American contexts. It investigates how economic realities, coupled with the cultural contexts in which museums operate, affect how these institutions organize, manage and develop their collections to make themselves relevant in society. Once charged with the primary task of educating citizens about their cultural identity and history, national museums and heritage organizations are also under pressure to rethink their market demands and meet stakeholders’ increasing interest in growing visitor numbers and expanding economic returns. Simultaneously, many museums are part of a cultural sector with diminished public funding and increased competition for the existing financing. Against this background, this book questions: ‘When the budget is tight, whose heritage counts most?’ It considers museums as arenas for heritage politics in action on the local, national and international levels, as well as at the institutional level. Hip Heritage will appeal to scholars and students engaged in the study of ethnology heritage, museum studies, marketing, leisure and tourism, public folklore, and sociology.

Future Stories in the Global Heritage Industry explores what happens to the heritage and memory of communities that find themselves in contact with the rest of the world when they become UNESCO World Heritage Sites. Written by an interdisciplinary group of emerging scholars and heritage professionals connected to these sites through their own heritage, this volume considers how a community can engage with a site’s globalized importance while retaining its own sense of history. Drawing on oral histories, ethnographic methods, film, interviews, and archival research, the book adds to the discourse around Critical Heritage Studies. It does so by putting theories into practice in selected heritage sites in Romania, the UAE/India, Eritrea, China, Mozambique, Tanzania, and Malaysia. The book also contributes toward the dismantlement of the many dichotomies imposed on heritage from the divisions between natural and cultural, or tangible and intangible in the UNESCO Conventions and Eurocentric heritage practices. Looking toward the future of the past, the volume asks whether heritage can be objectively or equitably managed, as it increasingly comes into conflict with issues around nation‐building, climate change, social class, ethnicity, religion, and gender. Future Stories in the Global Heritage Industry will be of great interest to academics and students engaged in the study of heritage, sociology, public history, history, international studies, sociology, and anthropology.

Cultural Heritage and Mobility from a Multisensory Perspective bridges the gap between cultural heritage and mobility studies through the employment of theoretical and methodological multisensory perspectives. An interdisciplinary volume covering a broad range of empirical cases, this book focuses on the engagement with cultural heritage in the context of mobility. The book presents a grassroots perspective of individual heritage performances by mobile and moving actors, analyzing them with close attention to their embodied aspects: bodily experiences, sensory impressions, and the affect and emotions they evoke. As a result, the collection of case studies presented covers empirical, theoretical, and methodological accounts of the embodiment of heritage in the context of mobility on macro, meso, and micro levels, exploring heritage change and mobility from a multisensory perspective. Cultural Heritage and Mobility from a Multisensory Perspective is primarily targeted at scholars, students and practitioners working within and at the intersection of the fields of cultural heritage and mobility. It will also be of interest to those engaged in the study of tourism, migration and integration studies. Chapters 2, 3, 4, 5, 13, 14 and Introduction of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

MUSEUM THEORY EDITED BY ANDREA WITCOMB AND KYLIE MESSAGE Museum Theory offers critical perspectives drawn from a broad range of disciplinary and intellectual traditions. This volume describes and challenges previous ways of understanding museums and their relationship to society. Essays written by scholars from museology and other disciplines address theoretical reflexivity in the museum, exploring the contextual, theoretical, and pragmatic ways museums work, are understood, and are experienced. Organized around three themes—Thinking about Museums, Disciplines and Politics, and Theory from Practice/Practicing Theory—the text includes discussion and analysis of different kinds of museums from various, primarily contemporary, national and local contexts. Essays consider subjects including the nature of museums as institutions and their role in the public sphere, cutting-edge museum practice and their connections with current global concerns, and the links between museum studies and disciplines such as cultural studies, anthropology, and history.

Installation art has become mainstream in artistic practices. However, acquiring and displaying such artworks means that curators and conservators are challenged to deal with obsolete technologies, ephemeral materials, and other issues concerning care and management of these artworks. By analyzing three in-depth case studies, the author sheds new light on the key concepts of traditional conservation--authenticity, artist's intention, and the notion of ownership--while exploring how these concepts apply in contemporary art conservation.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.

Fantasy City analyses the post-industrialist city as a site of entertainment. By discussing examples from a wide variety of venues, including casinos, malls, heritage developments and theme parks, Hannigan questions urban entertainments economic foundations and historical background. He asks whether such areas of fantasy destroy communities or instead create new groupings of shared identities and experiences. The book is written in a student friendly way with boxed case studies for class discussion.