A state-of-the-field collection opening new vistas in the study of nineteenth-century American landscapes

Designing Museum Experiences is a “how-to” book for creating visitor-centered museums that emotionally and intellectually connect with museum visitors, stakeholders, and donors. Museums are changing from static, monolithic, and encyclopedic institutions to institutions that are visitor-centric, with shared authority that allows museum and visitors to become co-creators in content creation. Museum content is also changing, from static content to dynamic, evolving content that is multi-cultural and transparent regarding the evolution of facts and histories, allowing multi-person interpretations of events. Designing Museum Experiences leads readers through the methods and tools of the three stages of a museum visit (Pre-visit, In-Person Visit, and Post-visit), with a goal of motivating visitors to return and revisit the museum in the future. This museum visitation loop creates meaningful intellectual, emotional, and experiential value for the visitor. Using the business-world-proven methodologies of user centered design, Museum Visitor Experience leads the reader through the process of creating value for the visitor. Providing consistent messaging at all touchpoints (website, social media, museum staff visitor services, museum signage, etc.) creates a trusted bond between visitor and museum. The tools used to increase understanding of and encourage empathy for the museum visitor, and understand visitor motivations include: Empathy Mapping, Personas, Audience segmentation, Visitor Journey Mapping, Service Design Blueprints, System Mapping, Content Mapping, Museum Context Mapping, Stakeholder Mapping, and the Visitor Value Proposition. In the end, the reason for using the tools is to empower visitors and meet their emotional and intellectual needs, with the goal of creating a lifelong bond between museum and visitor. This is especially important as museums face a new post COVID-19 reality; only the most nimble, visitor-centered museums are likely to survive. The companion website to Designing Museum Experiences features: Links to additional visitor-centered museum information Downloadable sample documents and templates Bibliography of sources for further reading Online glossary of museum visitor experience terms Daily checklists of “how-to” provide and receive visitor-centered experiences More than 50 associated Designing Museum Experiences documents

Shake up and redefine the market by changing your game! A new generation of businesses is rising out of the maelstrom of economic and technological change across our world. These companies are shaking up the world. In Gamechangers Peter Fisk has sought out the brands and businesses, large and small, from every continent, who are changing the game... and shows how we can learn the best new approaches to strategy and leadership, innovation and marketing from them. ‘Gamechangers’ are disruptive and innovative, they are more ambitious, with stretching vision and enlightened purpose. They find their own space, then shape it in their own vision. Most of all they have great ideas. They outthink their competition, thinking bigger and different. They don’t believe in being slightly cheaper or slightly better. Why be 10% better, when you could be 10 times better? Gamechangers is built around 10 themes that are shaping the future of business, brought to life with 100 case studies from across the world, and 16 practical canvases to make the best ideas happen in your business. The book is supported by a range of seminars, workshops and digital resources. Gamechangers offers guidance on: Thinking smarter and acting faster Embracing the new tricks of business Understanding how gamechangers dream and disrupt Delivering practical results and winning

In recent years, American art scholars have increasingly focused on the importance of cross-cultural exchanges during the nineteenth century. As essayist François Brunet puts it, mid-nineteenth century landscapes were “transnational . . . permeated by complex transactions where ‘American’ originality produced itself not only in imitation of or reaction against ‘European’ influences, . . . but as critical mirroring and incorporating of ‘European’ images.” Articles in this collection make clear that the “conversation of cultures” went both ways, with American artworks and culture also affecting European artistic and literary practice. Essays explore the transnational origin of many types of American artworks, from stained glass windows, which usually copied their European originals with great exactitude, to paintings and sculptures using distinctly American motifs, such as the Puritan and the cowboy, to distinguish American art students from their Parisian masters. It also examines American cultural icons, particularly the American Indian, appropriated by European writers, artists, and philosophers to embody primeval wisdom. A distinguished international group of scholars, including Brunet, Robert Rydell, and Peter Gibian, offer valuable perspectives on the ever-broadening field of transnational cultural studies.

Thirteen previously published essays, notes, and interviews, by Olu Oguibe, with revisions, with an additional list of where the contributions were originally published and a cumulative index for this anthology as a whole.

A reconsideration of Church's works offering a sustained examination of the aesthetics of detail that fundamentally shaped 19th-century American landscape painting.

Mining a rich, interdisciplinary mix of sources, including stoneware jugs, personal correspondence, paintings, inventories, and literature written for the dining room, this study offers a critical and entirely original examination of the function of early modern images for the people who owned and viewed them. The study explores the emergence, functions and material culture of the Antwerp dinner party during the heady days of the mid-sixteenth century, when Antwerp?s art market was thriving and a new wealthy, non-noble class dominated the city. The author recontextualizes some of Bruegel?s work within the cultural nexus of the dining room, where material culture and theatrical performance met humanist wit and the desire for professional advancement. The narrative also touches on the reception of Northern art in Lombardy, on intersections among painting, material culture, and theater, and on intellectual history.