Ergebnis für "A" in Bibliotheks- & Museumsforschung

Penguin presents the audiobook edition of Meetings with Remarkable Manuscripts written and read by Christopher de Hamel. This is a book about why medieval manuscripts matter. Coming face to face with an important illuminated manuscript in the original is rather like meeting a very famous person...

New York Times bestseller Named one of the best books of the year by the New York Public Library, the Financial Times, the New York Post, Book Riot, and The Sunday Times (London). An “exquisite” (The Washington Post) “hauntingly beautiful” (Associated Press) portrait of the Metropolitan...

The Art of Relevance is your guide to mattering more to more people. You'll find inspiring examples, rags-to-relevance case studies, research-based frameworks, and practical advice on how your work can be more vital to your community. Whether you work in museums or libraries, parks or theaters, churches or afterschool programs, relevance can work for you. Break through shallow connection. Unlock meaning for yourself and others. Find true relevance and shine.

Famed across the known world, jealously guarded by private collectors, built up over centuries, destroyed in a single day, ornamented with gold leaf and frescoes or filled with bean bags and children's drawings - the history of the library is rich, varied and stuffed full of incident. In this, the first major history of its kind, Andrew Pettegree and Arthur der Weduwen explore the contested and dramatic history of the library

Churches are many things to us—they are places of worship, vibrant community hubs and oases of calm reflection. To know a church is to hold a key to the past that unlocks an understanding of our shared history. Andrew Ziminski has spent decades as a stonemason and church conservator, acting as an informal guide to curious visitors. Church Going is his handbook to the medieval churches of the British Isles, in which he reveals their fascinating histories, features and furnishings, from flying buttresses to rood screens, lichgates to chancels.

Where do human societies come from? The drive to answer this question took on a new urgency in the nineteenth century, when a generation of archaeologists began to look beyond the bible for the origins of different cultures and civilizations. Zelia Nuttall threw herself into the study of Aztec customs and cosmology, eager to use the tools of the emerging science of anthropology to prove that modern Mexico was built over the ruins of ancient civilizations.

Millions of people climb the grand marble staircase into New York's Metropolitan Museum of Art every year. But only a select few have unrestricted access to every nook and cranny. They're the guards in dark blue suits, keeping careful watch over this vast treasure house. Caught up in the early days of a glamorous journalism career, Patrick Bringley never thought he'd be one of them. Then his brother was diagnosed with fatal cancer and he needed to escape the mundane clamour of daily life. So he quit, and sought solace in the most beautiful place he knew.

Art today is defined by its relationship to money as never before. Prices of living artists' works have been driven to unprecedented heights, conventional boundaries within the art world have collapsed, and artists now think ever more strategically about how to advance their careers. Artists no longer simply make art, but package, sell, and brand it. Noah Horowitz exposes the inner workings of the contemporary art market, explaining how this unique economy came to be, how it works, and where it's headed.

When "metadata" became breaking news, appearing in stories about surveillance by the National Security Agency, many members of the public encountered this once-obscure term from information science for the first time. Should people be reassured that the NSA was "only" collecting metadata about phone calls - information about the caller, the recipient, the time, the duration, the location - and not recordings of the conversations themselves? Or does phone call metadata reveal more than it seems?

From the former director of the Museum of Arts and Design in New York comes a timely and passionate case for the role of the well-designed object in the digital age. In this delightful exploration of craft in its many forms, curator and scholar Glenn Adamson explores how raw materials, tools, design and technique come together to produce objects of beauty and utility.

'Marvellous . . . I read it with astonished delight . . . It is equally scholarly and entertaining.' - Jan Morris 'Quirky and compelling.' - The Times Once we've learned it as children, few of us think much of the alphabet and its familiar sing-song order. And yet the order of the alphabet, that...

People who love art, are fascinated by archaeology, or are history buffs may have considered the idea of working in a museum. But experience as a museum visitor reveals only the public-facing side of the museum, and not its complex, dynamic internal structure. So You Want to Work in A Museum? helps to demystify museums as institutions and to prepare prospective museum staff to explore the field further.

The vivid and masterful story of Isabella Stewart Gardner—creator of one of America’s most stunning museums—an American original whose own life was remade by art. Isabella Stewart Gardner’s museum, with its plain exterior enfolding an astonishing four-story Italian palazzo, rose from...

What if the British Museum isn't a house of learning, but a vast sinkhole of still-bubbling historic injustice? What if it presents us not with a carefully ordered cross section of history but is instead a palatial trophy cabinet of colonial loot swarming with volatile and errant spirits? When artist and writer Noah Angell first heard murmurs of ghostly sightings at the British Museum he had to find out more. What started as a trickle soon became a landslide as staff old and new brought forth testimonies of their inexplicable supernatural encounters.

Py-Lieberman reflects on the profound connections between even outwardly dissimilar objects and offers insight and stories from Smithsonian experts. The book explores artworks, scientific specimens, historical artifacts, airplanes, spacecraft, plants, and so much more, contemplating how each item represents different facets of humanity and resonates with cultural meaning in surprising ways. Whimsical, affecting, and insightful, The Object at Hand offers an intimate and exclusive tour of the Smithsonian collections.

Sitting on the banks of the river Seine, in the very heart of Paris, the Musée d'Orsay is known worldwide for its exceptional collection of impressionist paintings. These works were absolutely scandalous at the time and for some, they still obviously are. Also, it provides a genuine feeling of time travel by recreating the context in which every single work of art has been produced. Its history is also full of twists and surprises. All of this contributes to making the Musée d'Orsay one of the most alive and striking museums ever.

In The Politics of Collecting, Eunsong Kim traces how racial capitalism and colonialism situated the rise of United States museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good...

A history of libraries and the people who built them, from the ancient world to the digital age “Engaging [and] ambitious” (The Washington Post) The history of the library is rich, varied, and stuffed full of incident. In The Library, historians Andrew Pettegree and Arthur...

A manifesto on the state of the non-profit arts sector and the once-in-a-lifetime opportunity leaders have to redefine the business as an investment in our shared humanity.

In 1975, the school board members of a small Long Island town did what they thought was a no-brainer: they ordered the removal of nine books from a high school library. The books included some classics – Richard Wright's Black Boy; Desmond Morris's The Naked Ape; Kurt Vonnegut's Slaughterhouse-Five – but that didn't matter to board chair Richard Ahrens, who called the collection "anti-American, anti-Christian, anti-Semitic, and just plain filthy." Maybe he thought the town was with him.