Zeigt Titel in Bibliotheks- & Museumsforschung

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...

As heard on NPR's This American Life “Absorbing . . . Though it's non-fiction, The Feather Thief contains many of the elements of a classic thriller.” —Maureen Corrigan, NPR’s Fresh Air “One of the most peculiar and memorable true-crime books ever.” —Christian Science Monitor A...

If you buy a book at the bookstore, you own it. You can take it home, scribble in the margins, put it on the shelf, lend it to a friend, or sell it at a garage sale. But is the same thing true for the eBooks or other digital goods you buy? Retailers and copyright holders argue that you don't own those purchases, you merely license them. That means your eBook vendor can delete the book from your device without warning or explanation - as Amazon deleted Orwell's 1984 from the Kindles of surprised readers.

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.

Claire Wilcox has been a curator of fashion at the Victoria and Albert Museum for most of her working life. In Patch Work, she steps into the archive of memory, deftly stitching together her dedicated study of fashion with the story of her own life lived in and through clothes. From her mother's black wedding suit to the swirling patterns of her own silk kimono, her memoir unfolds in spare, luminous prose the spellbinding power of the things we wear.

The Western museum is a battleground—a terrain of ideological, political, and economic contestation. Almost everyone today wants to rethink the museum, but how many have the audacity to question the idea of the universal museum itself? In A Programme of Absolute Disorder, Françoise Vergès puts the museum in its place. Exploring the Louvre's history, she uncovers the context in which the universal museum emerged: as a product of colonialism, and of Europe's self-appointed claim to be the guardian of global heritage.

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.

Walter Benjamin erzählt in seiner Rede über seine Sammelleidenschaft für Bücher. Nach jedem Umzug packt er seine Bibliothek aus. Hier stößt er auf die Verschiedenartigkeit in der Schrift, der Aufmachung und des Inhalts der Bücher. Regie: Julius Albert Flach

In its first four months of operation, the Smithsonian National Museum of African American History and Culture surpassed one million visits and quickly became a cherished, vital monument to the African American experience. And yet this accomplishment was never assured. In A Fool's Errand, founding director Lonnie Bunch tells his story of bringing his clear vision and leadership to realize this shared dream of many generations of Americans.

The fascinating and little-known story of the Louvre, from its inception as a humble fortress to its transformation into the palatial residence of the kings of France and then into the world's greatest art museum.

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?

At the heart of Oxford University life, the Bodleian Library is one of the oldest working libraries in Europe with some of its reading rooms - the medieval Duke Humfrey’s Library and the circular Radcliffe Camera - immortalised in films, including The Golden Compass the Harry Potter franchise. With access to priceless archives including Jane Austen’s unfinished novel The Watsons, this documentary reveals how the Elizabethan diplomat Sir Thomas Bodley created this extraordinary library and how it flourishes as a modern institution.

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...

Abandoned in a library book-drop slot in the dead of winter, the small kitten who came to be known as Dewey Readmore Books miraculously endured the coldest night of the year. When librarian Vicki Myron found him in the morning, she wrapped him in her arms, gave him his first bath, and then introduced him to his new home: the library. Dewey charmed Spencer, Iowa’s library-goers, young and old, with his ability to know just which visitors needed a friend.

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 taste—are responsible for popular ideas of formal innovation and artistic genius.

The dream of capturing and organizing knowledge is as old as history. From the archives of ancient Sumeria and the Library of Alexandria to the Library of Congress and Wikipedia, humanity has wrestled with the problem of harnessing its intellectual output. The timeless quest for wisdom has been as much about information storage and retrieval as creative genius. In Cataloging the World, Alex Wright introduces us to a figure who stands out in the long line of thinkers and idealists who devoted themselves to the task.

In a time of rising social isolation, ideological division, and technological upheaval, libraries stand at a crossroads. In Triptych: Death, AI, and Librarianship, acclaimed scholar R. David Lankes—joined by Jain Orr and Qianzi Cao—delivers a bold, urgent, and deeply human call to action for the library profession. Structured around three provocative lectures, this book challenges librarians to move beyond traditional service models and embrace their role as agents of social transformation.

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.

In 1980, Katina Strauch started the Charleston Conference: Issues in Book and Serial Acquisition to bring together librarians, publishers, and vendors to discuss issues shared by the three groups. The meeting has continued annually and boasts over 3,000 attendees in person and virtually. This memoir is Katina’s diary and story of the Charleston Conference and its development concurrently with her career as a professional librarian.