First published in 1998, this volume explores the expanding wave of a new kind of museums of contemporary art in the nineteenth and early twentieth centuries. Lorente examines their ‘coming of age’ and the weight of their museological legacy, arguing that the establishment of great national museums of art at London and Paris radiated out, carrying their influence with it. This book emerged as part of a series on towns and cities and has a focus on London and Paris as centres of artistic innovation.

Theorizing the Southeast Asian City as Text examines the ways in which culture, ethnicity, languages, traditions, governance, policies and histories interplay in the creation of the urban experiences in contemporary Southeast Asian cities. It focuses on the ways in which urban spatial forms are textual experiences, subject to interpretative strategies and the influence of other discourses. In addition it also analyzes the experiences of modernization in such cities, but also in terms of the strategies of containment, refurbishment, and loss which this has occasioned.

Municipal Services and Employees in the Modern City considers the roles played by local institutions and particular processes that shaped the urban fabric. It rediscovers from models and maps the constituent dynamics of cities since the beginning of the nineteenth century, and demonstrates how patterns evolved in the way services and locations were organized; how urban transformation was underpinned by structural development, and how the municipal workforce became an integral part of the agencies of change. Municipal Services and Employees in the Modern City suggests that municipal experiences are central to the development of urban studies. Its focus of analysis ranges across Europe and the Americas from high-ranking bureaucrats to firefighters, engineers to accountants, and town clerks to public servants. Each essay provides detailed information on how change was formulated or resisted within the administrative apparatus, offering insight into a sector of the 'white-collar' class and the degree of commitment to public values often at times of social and political upheaval. They explore the course of relationships between local and central government, and the shifting bounds of municipal interventionism over a broad period; whilst incorporating a social history approach to interpret the day-to-day responsibilities and routine of administration.

Theorizing the Southeast Asian City as Text examines the ways in which culture, ethnicity, languages, traditions, governance, policies and histories interplay in the creation of the urban experiences in contemporary Southeast Asian cities. It focuses on the ways in which urban spatial forms are textual experiences, subject to interpretative strategies and the influence of other discourses. In addition it also analyzes the experiences of modernization in such cities, but also in terms of the strategies of containment, refurbishment, and loss which this has occasioned.

Traditional postcolonial scholarship on art and imperialism emphasises tensions between colonising cores and subjugated peripheries. The ties between London and British white settler colonies have been comparatively neglected. Artworks not only reveal the controlling intentions of imperialist artists in their creation but also the uses to which they were put by others in their afterlives. In many cases they were used to fuel contests over cultural identity which expose a mixture of rifts and consensuses within the British ranks which were frequently assumed to be homogeneous. British Art for Australia, 1860–1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries represents the first systematic and comparative study of collecting British art in Australia between 1860 and 1953 using the archives of the Australian national galleries and other key Australian and UK institutions. Multiple audiences in the disciplines of art history, cultural history, and museology are addressed by analysing how Australians used British art to carve a distinct identity, which artworks were desirable, economically attainable, and why, and how the acquisition of British art fits into a broader cultural context of the British world. It considers the often competing roles of the British Old Masters (e.g. Romney and Constable), Victorian (e.g. Madox Brown and Millais), and modern artists (e.g. Nash and Spencer) alongside political and economic factors, including the developing global art market, imperial commerce, Australian Federation, the First World War, and the coming of age of the Commonwealth.

This is a coherent and integrated set of essays around the theme of governance addressing a wide range of questions on the organisation and legitimation of authority. At the heart of the book is a set of topics which have long attracted the attention of urbanists and urban historians all over the world: the growth and reform of urban local government, local-centre relationships, public health and pollution, local government finance, the nature of local social élites and of participation in local government. Approaching these topics through the concept of governance not only raises a series of new questions but also extends the scope of enquiry for the historian seeking to understand towns and cities all over the world in a period of rapid change. Questions of governance must be central to a variety of enquiries into the nature of the urban place. There are questions about the setting of agendas, about when a localised or neighbourhood issue becomes a big city or even national political issue, about what makes a ’problem’. Public health and related matters form a central part of the ’issues’ especially for the British; in North America fire and the development of urban real estate have dominated; in India the security of the colonial government had a prominent place. The historical dynamic of these essays follows the change from the chartered governments of the seventeenth and eighteenth centuries towards the representative regimes of the nineteenth and twentieth. However, such historical change is not regarded as inevitable, and the effects of bureaucratic growth, regulatory regimes, the legitimating role of rational and scientific knowledge as well as the innovatory use of ritual and space are all dealt with at length.

Museums and Centers of Contemporary Art in Central Europe is a comprehensive study of the ecosystem of art museums and centers in the Czech Republic, Hungary, Poland and Slovakia. Focusing on institutions founded after 1989, the book analyses a thirty-year boom in art exhibition space in these regions, as well as a range of socio-political influences and curatorial debates that had a significant impact upon their development. Tracing the inspiration for the increase in art institutions and the models upon which these new spaces were based, Jagodzińska offers a unique insight into the history of museums in Central Europe. Providing analysis of a range of issues, including private and public patronage, architecture, and changing visions of national museums of art, the book situates these newly-founded institutions within their historical, political and museological contexts. Considering whether - and in what ways - they can be said to have a shared regional identity that is distinct from institutions elsewhere, this valuable contribution paints a picture of the region in its entirety from the perspective of new institutions of art. Offering the first comprehensive study on the topic, Museums and Centers of Contemporary Art in Central Europe should be of great interest to academics, researchers and postgraduate students engaged in the study of museums, art, history and architecture.