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Museums are increasingly developing international strategies to raise their profiles outside of their home markets. How can we define this trend? This book is based on a multiple correspondence analysis of a database populated by the results of a survey conducted by the author on international museums. The study reveals that museums fall into four categories regarding their internationalization strategies and can have two complementary international strategies: one geared toward economic profitability and one geared toward the preservation of heritage. However, traditional business models for museums are currently facing challenges from a decline in public subsidies, uncertainty surrounding private donations and stagnant ticket sales. The author argues that the internationalization of museums is having an impact on the historical models and is contributing to the evolution of these business models. Two case studies, of the Victoria & Albert Museum (London, UK) and the Musée des Arts et Métiers (Paris, France), provide particular insights into the international characteristics and practices of museums.

Ausstellungen wollen Wissen vermitteln und zugleich ästhetische Erfahrungen ermöglichen. Aber wie genau tun sie das? Die Beiträge dieses Bandes gehen an der Schnittstelle von Ausstellungstheorie und kuratorischer Praxis der Frage nach, wie in Museen und Ausstellungen durch expositorische Konstellationen Evidenzerfahrungen nicht nur erzeugt, sondern auch unterlaufen und damit problematisiert werden können. Sie beleuchten aus ganz unterschiedlichen Perspektiven Prozesse des Erkennens und Verstehens im Zusammenspiel von Kunstwerken, Räumen, Displays, Handlungen sowie den verschiedenen Akteur_innen - von Kurator_innen und Künstler_innen bis zu den Rezipienten. Bei der Untersuchung von Ausstellungen als komplexen Konfigurationen der ästhetischen Bedeutungserzeugung werden aktuelle Ansätze der Curatorial Studies, der Kunstwissenschaft, Philosophie sowie der Theater- und Tanzwissenschaft anhand konkreter Fallstudien zur Ausstellungspraxis seit den 1960er-Jahren angewandt.

Museums today find themselves within a mediatised society, where everyday life is conducted in a data-full and technology-rich context. In fact, museums are themselves mediatised: they present a uniquely media-centred environment, in which communicative media is a constitutive property of their organisation and of the visitor experience. The Routledge Handbook of Museums, Media and Communication explores what it means to take mediated communication as a key concept for museum studies and as a sensitising lens for media-related museum practice on the ground.Including contributions from experts around the world, this original and innovative Handbook shares a nuanced and precise understanding of media, media concepts and media terminology, rehearsing new locations for writing on museum media and giving voice to new subject alignments. As a whole, the volume breaks new ground by reframing mediated museum communication as a resource for an inclusive understanding of current museum developments.The Routledge Handbook of Museums, Media and Communication will appeal to both students and scholars, as well as to practitioners involved in the visioning, design and delivery of mediated communication in the museum. It teaches us not just how to study museums, but how to go about being a museum in today's world. The book is available for free in PDF format as Open Access at www.taylorfrancis.com. It has been made available under a a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license

(Summer/Fall 2017) Editor Juilee Decker's introduction to the issue is followed by four articles covering: collections care informed by Native American perspectives (Jennifer Shannon); teaching historical research methods with archives as a test bed (Margot Note); historical markers, signage, and public programming online (Yun Shun Susie Chung); and building and managing a digital repository (Rebecca Bakker and Kelley Rowan). Fifteen book reviews covering a range of topics—from museums and innovation, collections and collecting practices, special collections, constructions of knowledge, and digital rights management and digital repositories. Reviews were prepared by Whitney Baker, Kirsten Belisle, Lee Andrew Hilyer, Mike Jones, Alexandra Libbey, Hannah Marsh, Margot Note, Yumi Ohira, Laura Osterhout, Laurel Racine, Ben Rawlins, Deborah Rose Van Horn, and Heather A. Wade.

(Winter 2018) Editor Juilee Decker's introduction to the issue is followed by four articles covering: archives and special collections practices at a small liberal arts college (Benjamin Jenkins and Keren Darancette); repatriation of sacred objects in the United States and Canada (Jennifer L. Dekker); the emergence of the African art collection at The Kreeger Museum (Antonia Dapena-Tretter and Eloise Pelton); and the exhibit creation process at The Rockefeller Archive Center (Marissa Vassari). Four book reviews covering a range of topics including the field of museum studies alongside engagement with professional practices, the care of prints and drawings, a museum guide to The Money Museum in Frankfurt, Germany, and a reconstruction of the Lansdowne Collection. Reviews were prepared by Phoebe Cos, Megan Moltrup, Claire L. Kovacs, and Christopher A. Gregg.

Histories of Performance Documentation traces the many ways in which museums have approached performance works from the 1960s onwards, considering the unique challenges of documenting live events. From hybrid and interactive arts, to games and virtual and mixed reality performance, this collection investigates the burgeoning role of the performative in museum displays.Gabriella Giannachi and Jonah Westerman bring together interviews and essays by leading curators, conservators, artists and scholars from institutions including MoMA, Tate, SFMOMA and the Whitney, to examine a range of interdisciplinary practices that have influenced the field of performance documentation. Chapters build on recent approaches to performance analysis, which argue that it should not focus purely on the live event, and that documentation should not be read solely as a process of retrospection. These ideas create a radical new framework for thinking about the relationship between performance and its documentation—and how this relationship might shape ideas of what constitutes performance in the first place.

Curators make many decisions when they build collections or design exhibitions, plotting a passage of discovery that also tells an essential story. Collecting captures the past in a way useful to the present and the future. Exhibits play to our senses and orchestrate our impressions, balancing presentation and preservation, information and emotion. Curators consider visitors'interactions with objects and with one another, how our bodies move through displays, how our eyes grasp objects, how we learn and how we feel. Inside the Lost Museum documents the work museums do and suggests ways these institutions can enrich the educational and aesthetic experience of their visitors.Woven throughout Inside the Lost Museum is the story of the Jenks Museum at Brown University, a nineteenth-century display of natural history, anthropology, and curiosities that disappeared a century ago. The Jenks Museum's past, and a recent effort by artist Mark Dion, Steven Lubar, and their students to reimagine it as art and history, serve as a framework for exploring the long record of museums'usefulness and service.Museum lovers know that energy and mystery run through every collection and exhibition. Lubar explains work behind the scenes—collecting, preserving, displaying, and using art and artifacts in teaching, research, and community-building—through historical and contemporary examples. Inside the Lost Museum speaks to the hunt, the find, and the reveal that make curating and visiting exhibitions and using collections such a rewarding and vital pursuit.

Creativity and Learning in Later Life examines how processes such as ‘creativity'and ‘inspiration'are experienced by writers who engage with the visual arts, and questions how age is perceived in relation to these processes. The author's careful analysis challenges many of the assumptions on which museum education currently operates, contributing to wider debates surrounding the value of arts and cultural heritage education. Containing detailed descriptions of museum tours, viewers'engagements with specific artworks, and the processes of creative writing and editing that result from such encounters, the book draws on a ground-breaking study to challenge the way in which the value of education and creative activity for older adult learners has been conceptualized in existing literature. It also demonstrates how learners adapt and subvert the intended pedagogies to suit their own needs and accommodate their ageing selves. Drawing on a spectrum of disciplines including education, anthropology, art history, sociology, museum studies and the practice and theory of creative writing, this book will be of interest to academics, postgraduate students, and researchers in a range of fields, as well museum practitioners, creative writing teachers and those working in adult and community education settings.

This volume presents sixteen thoughtful essays which address innovative ways to present cultural heritage primarily in ethnographic and social history museums through recent permanent, temporary, and mobile exhibitions. The essays included are taken from the different vantage points; they prompt critical debate about new ways of thinking and working in museums of different sizes, with regard for how we might work collaboratively towards a more equitable future. Essential political issues related to power and the strong influences of the museum are addressed in each section, especially with regards to the presentation of particular cultures and communities.

In recent years, the emerging field of museum studies has seen rapid expansion in the critical study of museums and scholars started to question the institution and its functions. To contribute differentiated viewpoints to the currently evolving meta-discourse on the museum, this volume aims to investigate how the institution of the museum has been visualized and translated into different kinds of images and how these images have affected our perception of these institutions. In this interdisciplinary collection, scholars from a variety of academic backgrounds, including art history, heritage, museums studies and architectural history, explore a broad range of case studies stretching across the globe. The volume opens up debate about the epistemological and historiographical significance of a variety of different images and representations of the Art Museum, including the transformation or adaptation of the image of the art museum across periods and cultures. In this context, this volume aims to develop a new theoretical framework while proposing new methodological tools and resources for the analysis of museological representations on a global scale.

Art and Public History: Approaches, Opportunities, and Challenges examines the relationship between art and public history, outlining opportunities, challenges, and insights drawn from recent initiatives. With a special eye towards audience engagement and challenging historical narratives, all of the case studies and projects combine historical interpretation with contemporary and historical forms of visual art in unique and insightful ways. In addition to emphasizing the kind of practical advice found in the best case studies, this volume also offers a critical discussion of the concepts, tools, skills and technologies that contribute to fruitful interdisciplinary collaboration. These issues are addressed through sections on projects related to historical artworks; contemporary art and artists; and public art and the built environment. It addresses how public historians can incorporate art into their practice by outlining opportunities, challenges, and insights drawn from recent projects in the United States and Britain. These projects have taken place across a variety of platforms, including local and national history museums; art galleries; digital archives; classrooms; historical markers; and public art projects. The case studies incorporate the perspectives of different stakeholders, including public historians, artists, and audiences. The book will provide both public history practitioners and academics with useful guidance on how art can be integrated into public history initiatives, through critical discussion of tools, strategies, and technologies that contribute to fruitful collaboration and audience engagement across a variety of platforms. Readers will walk away with new ideas, strategies, and practical considerations for interdisciplinary projects to attract audiences in new ways.

(Spring 2017) This issue of the journal is themed with a focus on Storytelling: Oral Histories, Archives, and Museums. Articles address methods, case studies, and theoretical approaches taken by museum and archives professionals including librarians, archivists, curators, technologists, researchers, scholars, and students. Authors include: Colleen Bradley-Sanders; Ren Harman, Tarryn Abrahams, Andrew Kulak, David Cline, Adrienne Serra, Ellen Boggs, Shannon Larkin, Jessie Rogers, Ashley Stant, Quinn Warnick, and Katrina Powell; Keith Huxen; David Kunian; Uta Larkey; Janet Butler Munch; Benjamin Ridgeway and Olivia Guntarik; Marco Robinson, Farrah Gafford Cambrice, and Phyllis Earles; Natalie Underberg-Goode; and Ruth Wainman.

A must for exhibit developers, researchers, educators, and other museum professionals looking for ways to engage visitors more deeply with interactive science exhibits, this book documents the exploration and findings of the Exploratorium's Active Prolonged Engagement project, funded by the National Science Foundation. Both a significant contribution to visitor research and a nuts-and-bolts guide to exhibit development, Fostering Active Prolonged Engagement includes 15 APE Tales (exhibit recipes with photos, drawings, and detailed construction specifications); discussions of setting explicit goals for visitors'exhibit experiences; research and evaluation methods and results; and lessons learned for building constructivist-style exhibits.

(Winter 2017) This issue of the journal features a note from the editor, two articles, four book reviews, and supplemental material. In “Silent Legacy: The Story of Vasily Konovalenko's Gem-Carving Sculptures,” Stephen E. Nash and Frances Alley Kruger examine Russian artist the life and work of Vasily Konovalenko (1929-1989), as well as the unusual circumstances that led to the two exhibitions, their role in Konovalenko's relative obscurity, and a recent resurgence of interest. In “Exploring the Concept of a ‘Legacy'Collection: A Study on German WWI Paper Textiles at the National Museum of American History,” Kathleen King questions the value of keeping objects that no longer support the current mission statement of a museum by using a collection of surplus German military objects composed of woven paper from the First World War in the Smithsonian National Museum of American History as a case study. Jessica Williams reviews Introduction to Metadata, edited by Murtha Baca. Anna Heineman reviews Uncertain Images: Museums and the Work of Photographs, edited by Elizabeth Edwards and Sigrid Lien. Hannah Marsh reviews House of Lost Worlds: Dinosaurs, Dynasties, & the Story of Life on Earth, by Richard Conniff. Margot Note reviews Museums, Ethics and Cultural Heritage, edited by Bernice L. Murphy. Additional content includes listing and information about six additions to the Editorial Board of the journal and a call for papers.

Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

Die Publikation'Gegen den Stand der Dinge'reflektiert eine aktuelle Verschiebung in der musealen Auseinandersetzung mit materieller Kultur. Denn in den letzten Jahren sind die Dinge in Museen und Ausstellungen neu in den Fokus gerückt: ihnen wurde von den'material culture studies'über die Soziologie bis zur zeitgenössischen Kunst eine entscheidende Handlungsmacht attestiert. Die Beiträge des Buches verfolgen'Dinggeschichten'und'Objektkarrieren', sie loten neue Debatten um einen Neomaterialismus aus und eröffnen unerwartete Perspektiven auf Sammlungsgegenstände. Aus Sicht der Kunsttheorie, der Material- und Kulturwissenschaften fragen sie nach neuen Methoden und Herangehensweisen an Produktionsbedingungen, Erinnerungspraktiken, Materialitäten und Objekte in Museen und Ausstellungen.

This focus issue of the journal draws attention to “Collections in a Digital Age” with nine contributions from participants in a working group held in April 2015 as part of the National Council on Public History's annual meeting in Nashville. In “A Case for Digital Collections,” Sheila Brennan highlights a challenge. How do we represent disagreement and difference in the interpretations of object? Zooming in on the process of digitization, Lauren Tilton writes about the politics of film digitization arguing that we should reconsider archival and preservation “best practices” that require film restoration. William Walker shows how using public history to engage in conversations about contemporary social issues enhances and shapes how one collects and exhibits oral history. Brent Rogers explores the relationship between print and digital documentary editions of the Joseph Smith Papers Project. Brian Failing looks closely at the role of postcards in teaching local, public history. Chris Cantwell's case study demonstrates the possibility digital public history has to complicate and improve historiography. Kyle Roberts uses the Jesuit Libraries Provenance Project (JLPP) to show how developing digitized library collections offers an opportunity to learn and teach about digital projects, shared authority, and collaboration. Susan Knowles examines a litany of challenges and successes for digitization, preservation, and collaboration within the context of her work at Middle Tennessee State University's Center for Historic Preservation. Finally, Mark Tebeau argues digital tools can augment rather than obscure the materiality of collections. The essays are, like digital public history itself, multi-faceted showing a variety of possibilities, opportunities, challenges, and even best-practices at a range of institutions or dealing with an assortment of historical materials. While each offers much to consider individually, readers will see some interesting and important themes develop across them collectively.

La muséologie, science qui s'applique à tout ce qui concerne les musées, leur histoire, leur mission et leur organisation, est née au XVIIIe siècle. Le plus ancien traité relatif à ce domaine date de 1727.

Sponsored by the Museum Education Roundtable, this is volume 37, Number 2 of the Journal of Museum Education (JME), published in the summer of 2012. This edition includes articles on the recent history of museum education; professionalizing of practice; museum evaluation, rebranding the museum, an examination on technological impacts and the role of the MER.

Collections of textiles—historic costume, quilts, needlework samplers, and the like—have benefited greatly from the digital turn in museum and archival work. Both institutional online repositories and collections-based social media sites have fostered unprecedented access to textile collections that have traditionally been marginalized in museums. How can curators, interpreters, and collections managers make best use of these new opportunities?To answer this question, the author worked with sites including the Great Lakes Quilt Center at the Michigan State University Museum, the Design Center at Philadelphia University, the International Quilt Study Center and Museum at the University of Nebraska-Lincoln, and the WGBH Boston Media Library and Archives, as well as user-curated social sites online such as Tumblr and Polyvore, to create four compelling case studies on the preservation, access, curation, and interpretation of textile objects. The book explores:The nature of digital material culture. The role of audience participation versus curatorial authority online.Audience-friendly collections metadata and tagging. Visual, rather than text-based, searching and cataloging.The legality of ownership and access of museum collections online.Gender equity in museums and archives. This book is essential reading for anyone who cares for, collects, exhibits, or interprets historic costume or textile collections, but its broad implications for the future of museum work make it relevant for anyone with an interest in museum work online. And because the focus of this volume is theory and praxis, rather than specific technologies that are likely to become obsolete, it will be staple on your bookshelf for years to come.

Museums and the Past explores the central role of museums as memory keepers and makers. Using case studies from a Canadian context, the contributors to this collection reflect on the challenges in maintaining and developing museums as meaningful places of memory and learning. Discussions of museum practice and historical consciousness – how our understanding of the past shapes our sense of the future – consider the modern museum's narratives and pedagogical responsibilities and how museums continue to inform our sense of history.

Ce livre d'étrange facture vient en témoignage de la force d'une rencontre survenue il y a bien longtemps, entre un vieil homme, Jean-Marie Somet et un chercheur ; il est le lointain effet de l'impact suscité chez ce dernier par sa découverte, alors, du musée de la mine créé de toutes pièces par JM Somet et portant son nom. Quel étrange musée en effet! Tous les murs sont littéralement recouverts de reproductions de photographies anciennes, le plus souvent locales, et à chacune d'entre elles est joint un cartel autographe toujours marqué du sceau biographique, où sont consignés en vrac les souvenirs personnels (JM Somet durant sa longue carrière est descendu dans la plupart des puits du bassin), les éléments d'une mémoire trans-générationnelle (JM Somet compte plusieurs générations de mineurs dans ses ascendants), ainsi que des informations tirées d'archives (devenu retraité de la mine, JM Somet a collecté tous ce que les différentes archives comptaient d'éléments relatifs à l'histoire de la mine dans le bassin stéphanois)… activés par l'image. En sorte que ce petit musée totalise un monde de la mine aujourd'hui disparu et la mémoire d'un homme qui était en passe de disparaître à son tour ; l'un et l'autre confondus. C'est l'ensemble de ces cartels, transcrits littéralement et augmentés des commentaires de JM Somet relatifs à leur confection qui constitue la matière de cet ouvrage. Point d'aboutissement du long parcours engagé par Michel Peroni pour mettre à son tour en partage ce qu'il avait jadis découvert et pour faire reconnaître la valeur du geste accompli là par JM Somet, ce livre est donc tout entier consacré à l'oeuvre muséographique par laquelle un vieillard considérable, dernier survivant d'un monde perdu – le monde de la mine – a tenté de transmettre au public sa mémoire intégrale de ce monde. En cela, le livre tient lieu de musée, et la lecture de l'un, de visite de l'autre…

La question des tendances en muséologie se révèle d'une grande actualité tant les changements et les mutations se bousculent depuis deux décennies dans l'univers des musées et des patrimoines. Ceux qui suivent de près l'actualité dans les médias électroniques sont à même de constater que les musées sont en voie de se métamorphoser avec la multitude de transformations qui touchent à la fois la nature des collections, l'élargissement de la notion de patrimoine muséologique, les nouveaux problèmes de conservation et les nouvelles formes de médiations. Dans la même perspective, la multiplication des politiques patrimoniales suscite des changements profonds qui n'étaient pas anticipés il y a deux décennies. Nous avons convié des chercheurs et des praticiens du Québec, du Canada, de la France et de la Belgique provenant de différentes disciplines afin de partager leurs travaux et leurs réflexions sur les grandes tendances qui transforment l'univers du monde muséal. Ces diverses tendances se structurent autour de trois grands thèmes qui soulèvent des questions :'Nouvelles muséalisations : nouvelles muséologies?','Nouveaux enjeux : nouvelles perspectives pour l'objet muséal?'et'Musée, muséologie : quel avenir?'

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

Looking for an A-Z, one-stop, comprehensive book on museums? Wish you were able to have one of the world's leading museum consultants spend a couple of days with you, talking you through how to start a museum, how museums work, how to set up an exhibit, and more? If so, Museums 101 is the answer to your wishes.In one short volume, Mark Walhimer covers:• Essential Background, such as what is a museum, a quick history of museums, and 10 steps to starting a museum• Operational Basics, such as branding, marketing, strategic planning, governance, accessibility, and day-to-day operations• What goes on behind the scenes in a museum, ranging from finances to fundraising to art handling, exhibit management, and research• The Visitor Experience, planning a museum, designing exhibits for visitors, programming, and exhibit evaluation.Features that even the most experienced museum professionals will find useful include a community outreach checklist, a fundraising checklist, a questionnaire for people considering starting a new museum, and an exhaustive, well-organized list of online resources for museum operations. The book's contents were overseen by a six-member international advisory board. Valuable appendixes you'll use every day include a museum toolbox full of useful forms, checklists, and worksheets, and a glossary of essential museum-related terms. In addition to the printed book, Museums 101 also features a companion website exclusively for readers of the book. The website— museums101.com—features:• links to essential online resources in the museum world,• downloadable sample documents,• a glossary,• a bibliography of sources for further reading, and• photographs of more than 75 museums of all types. Museums 101 Advisory Board• Jim DeMersman, Executive Director, Museum on Main, Pleasanton, California,United States of America• David L. Godfrey, C.P.A., Allison & Godfrey, Certified Public Accountants,Norwalk, Connecticut, United States of America• Van A. Romans, President, Fort Worth Museum of Science and History,Fort Worth, Texas, and Board of Trustees, American Alliance of Museums,United States of America• Sergey Solovyev, Ph.D., Department of Greek & Roman Antiquities, TheState Hermitage Museum, Russia• Alison Spence, Exhibitions and Loans Registrar, National Museum of Australia,Canberra ACT, Australia• Audrey Vermette, Director of Programs and Public Affairs, Canadian MuseumsAssociation, Ontario, Canada

Stolen, Smuggled Sold: On the Hunt for Cultural Treasures tells the dark and compelling stories of iconic cultural objects that were stolen, smuggled or sold, and eventually returned back to their original owner. There are many books about museum heists, Holocaust artwork, insider theft, trafficking in antiquities, and stolen Native American objects. Now, there's finally a book for the general public that covers the entire terrain. The book includes full-color photos of the objects.Stolen, Smuggled, Sold features seven vivid and true stories in which the reader joins the author as she uncovers a cultural treasure and follows its often-convoluted trail. Along the way author and reader encounter a cast of fascinating characters from the underbelly of the cultural world: unscrupulous grave robbers, sinister middlemen, ruthless art dealers, venal Nazis, canny lawyers, valiant academics, unstoppable investigative reporters, unwitting curators, and dedicated government officials. Stories include Gustav Klimt's Portrait of Adele Bloch-Bauer 1, the typeset manuscript for Pearl Buck's The Good Earth, a ceremonial Ghost Dance short from the massacre at Wounded Knee, the theft of 4,800 historical audio discs by a top official at the National Archives, a missing original copy of The Bill of Rights, the mummy of Ramses I, and an ancient treasure from Iraq.While each story is fascinating in and of itself, together they address one of the hottest issues in the museum world: how to deal with the millions of items that have breaks in the chain of ownership, suspicious ownership records, or no provenance at all. The issue of ownership touches on professional practices, international protocols, and national laws. It's a financial issue since the illicit trade in antiquities and cultural items generates as much as $4 billion to $8 billion a year.

Engagement and Access: Innovative Approaches for Museums addresses how museums forge two-way communication and engaged participation through the use of community curation, social media, collaboration, and inquiry-based learning. Such approaches demonstrate how museums serve as thriving, central gathering places in communities and offer meaningful, creative educational experiences.This book addresses how museums forge two-way communication and engaged participation through the use of community curation, social media, collaboration, and inquiry-based learning. The examples of engagement and access in this volume are paradigmatic of a shift in thinking. Each of these case studies advocate for doing and listening. That is to say, these institutions understand the importance of meeting the needs of audiences. And, in the twenty-first century, those audiences are onsite as well as online. While they represent only a handful of initiatives and engaging experiences thriving in museums today, they help us to see engagement and access in terms of virtual collections, the crowd (as in crowdsourcing, crowdfunding, and crowdcrafting), and the onsite experience. The Innovative Approaches for Museums series offers case studies, written by scholars and practitioners from museums, galleries, and other institutions, that showcase the original, transformative, and sometimes wholly re-invented methods, techniques, systems, theories, and actions that demonstrate innovative work being done in the museum and cultural sector throughout the world. The authors come from a variety of institutions—in size, type, budget, audience, mission, and collection scope. Each volume offers ideas and support to those working in museums while serving as a resource and primer, as much as inspiration, for students and the museum staff and faculty training future professionals who will further develop future innovative approaches.Contributions by: Charles Chen, Anne Corso, Jan Freedman, William Hennessey, Ashley Hosler, J. Patrick Kociolek, Sarah Lampen, Jennifer L. Lindsay, Margot Note, Stephanie Parrish, Marisa J. Pascucci, Janet Sinclair, Siobhan Starrs, Barbara W. Stauffer, Eric Steen, and Alison Zeidman

Technology and Digital Initiatives: Innovative Approaches for Museums discloses the ways in which technology is used as a means of communicating with visitors through podcasts, apps, websites, and blogs; as an educational enhancement through off-site e-learning and onsite participation at interactive kiosks; and as non-site-based experiences through collaborative initiatives providing open access to collections worldwide. This book offers ten case studies that address technology and digital initiatives from the perspective of initiators and consumers. Each of the chapters consider the use of technology in as a means of communicating with visitors through apps, websites, and other online resources used onsite and off-site. For example, strategies of museums detailed on a global level by Jane Alexander and Elizabeth Bolander of The Cleveland Museum of Art and Sree Sreenivasan of The Metropolitan Museum of Art. Alexander and Bolander walk us through the creation of a digital roadmap, a digital vision that links the museum's mission and strategic plans to the needs of its constituencies. Sree contends that museums can lead the way with innovation in the digital sector. And he offers lessons from his experience at the Met that might provide guidelines for your work and your museum.The Innovative Approaches for Museums series offers case studies, written by scholars and practitioners from museums, galleries, and other institutions, that showcase the original, transformative, and sometimes wholly re-invented methods, techniques, systems, theories, and actions that demonstrate innovative work being done in the museum and cultural sector throughout the world. The authors come from a variety of institutions—in size, type, budget, audience, mission, and collection scope. Each volume offers ideas and support to those working in museums while serving as a resource and primer, as much as inspiration, for students and the museum staff and faculty training future professionals who will further develop future innovative approaches.Contributions by: Jane Alexander, Elizabeth Bolander, Elizabeth Botten, Gareth Brereton, Nancy E. V. Bryk, Stephen J. Bury, Duygu Camurcuoglu, Kimberly Christen, John Dallwitz, Birger Ekornåsvåg Helgestad, Jennifer E. Henel, Kelly Quinn, Sree Sreenivasan, Jonathan Taylor, Sabra Thorner, Rihoko Ueno, and Heather Marie Wells