DIVÂ /div When I see a work of art, something happens in my heart! As a little girl tours and twirls through the halls of the art museum, she finds herself on an exciting adventure. Each piece of art evokes something new inside of her: silliness, curiosity, joy, and ultimately inspiration. When confronted with an empty white canvas, she is energized to create and express herself—which is the greatest feeling of all. With exuberant illustrations by Peter H. Reynolds, The Museum playfully captures the many emotions experienced through the power of art, and each child’s unique creative process. UPraise for The Museum/u "Verde and Reynolds deliver a simple premise with a charming payoff... this “twirly-whirly†? homage to a museum is, on balance, a sweet-natured and handsome celebration." —Kirkus Reviews "Debut author Verde makes an engaging case for understanding art as an experience rather than an object." —Publishers Weekly "The rhymed text captures the excitement of a being sparked by art.†? —Booklist "Communicates a fresh, playful, childlike perspective on art and normalizes childlike responses to it. The idea that posing, laughing, and curious questions are all appropriate museum behavior may be a new one for both children and parents, and knowing this is sure to make for more enjoyable museum visits." —School Library Journal "For parents who have trouble communicating the excitement of art to their children, The Museum can serve as the starting point for a conversation. The book is also a wonderful reminder of visual art’s power to encourage and empower self-expression. Children and adults will finish this book excited about their next art experience, and perhaps tempted to dance through the halls of a museum in the near future." —Bookpage "This playful picture book pays tribute to the joyous effect art can have on the viewer." —Shelf-Awareness

Milo is excited about her class trip to the museum. The docent leads them on a tour and afterward Milo has time to look around on her own. But something doesn't feel right, and Milo gradually realizes that the people from her community are missing from the museum. When her aunt urges her to find a solution, Milo takes matters into her own hands and opens her own museum!

A professor in Denmark and a grandmother in England begin a correspondence, and a friendship, that develops into something extraordinary.

Celebrates the resilience of American cultural institutions in the face of national crises and challenges On an afternoon in January 1865, a roaring fire swept through the Smithsonian Institution. Dazed soldiers and worried citizens could only watch as the flames engulfed the museum’s castle. Rare objects and valuable paintings were destroyed. The flames at the Smithsonian were not the first—and certainly would not be the last— disaster to upend a museum in the United States. Beset by challenges ranging from pandemic and war to fire and economic uncertainty, museums have sought ways to emerge from crisis periods stronger than before, occasionally carving important new paths forward in the process. The Museum explores the concepts of “crisis” as it relates to museums, and how these historic institutions have dealt with challenges ranging from depression and war to pandemic and philosophical uncertainty. Fires, floods, and hurricanes have all upended museum plans and forced people to ask difficult questions about American cultural life. With chapters exploring World War I and the 1918 influenza pandemic, the Great Depression, World War II, the 1970 Art Strike in New York City, and recent controversies in American museums, this book takes a new approach to understanding museum history. By diving deeper into the changes that emerged from these key challenges, Samuel J. Redman argues that cultural institutions can—and should— use their history to prepare for challenges and solidify their identity going forward. A captivating examination of crisis moments in US museum history from the early years of the twentieth century to the present day, The Museum offers inspiration in the resilience and longevity of America’s most prized cultural institutions.

The first book to take a "visitor's eye view" of the museum visit, updated to incorporate advances in research, theory, and practice in the museum field over the last twenty years.

“Art will wake you up. Art will break your heart. There will be glorious days. If you want eternity you must be fearless.” —Heather Rose, The Museum of Modern Love Our hero, Arky Levin, has reached a creative dead end. An unexpected separation from his wife was meant to leave him with the space he needs to work composing film scores, but it has provided none of the peace of mind he needs to create. Guilty and restless, almost by chance he stumbles upon an art exhibit that will change his life. Based on a real piece of performance art that took place in 2010, the installation that the fictional Arky Levin discovers is inexplicably powerful. Visitors to the Museum of Modern Art sit across a table from the performance artist Marina Abramović, for as short or long a period of time as they choose. Although some go in skeptical, almost all leave moved. And the participants are not the only ones to find themselves changed by this unusual experience: Arky finds himself returning daily to watch others with Abramović. As the performance unfolds over the course of 75 days, so too does Arky. As he bonds with other people drawn to the exhibit, he slowly starts to understand what might be missing in his life and what he must do. This is a book about art, but it is also about success and failure, illness and happiness. It’s about what it means to find connection in a modern world. And most of all, it is about love, with its limitations and its transcendence.

In 1954, the French writer, politician, and publisher André Malraux posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its greatest champions. Drawing on a range of contemporary publications, he adopted images and responded to ideas. Indeed, Malraux’s book on the floor is a variation of photographer André Vigneau’s spectacular Encyclopédie photographique de l’art, published in five volumes from 1935 on—years before Malraux would enter this field. Both authors were engaged in juxtaposing artworks via photographs and publishing these photographs by the hundreds, but Malraux was the better sloganeer. Starting from a close examination of the photograph of Malraux in his salon, art historian Walter Grasskamp takes the reader back to the dawn of this genre of illustrated art book. He shows how it catalyzed the practice of comparing works of art on a global scale. He retraces the metaphor to earlier reproduction practices and highlights its ubiquity in contemporary art, ending with an homage to the other pioneer of the “museum without walls,” the unjustly forgotten Vigneau.