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An engaging guide to over 150 art museums and more throughout New England
The wars of the twentieth century, their losses, and their toll on humanity are a frequent and important theme in the work of Christian Petersen. Though he is often known as "the gentle sculptor," Petersen gave much attention to the subject of warfare. To some extent, his entire life might be said to be based on a reaction to war since it was avoidance of the German military that prompted his family to emigrate from Denmark in 1893. Petersen lived through World War I, and sculpture on this theme constituted some of his earliest and most successful commissions. When World War II erupted, Petersen had been sculptor-in-residence at Iowa State for seven years, and its effect on college-age students was something he felt strongly. His work of the war years expresses the sacrifice and tragedy of the global fight. The theme continued to be important in the post-war years when he designed a number of proposals for war memorials, all of which focused not on victory, but on the sorrow and loss of war. By the late 1940s, his strong sentiments began to combine with his religious life after he joined the Catholic Church. It seems he often portrayed Christ as the victim of mankind's warring ways.This book was published in conjunction with the exhibition All the Evils?Christian Petersen and the Art of War (August 24, 2009 through February 26, 2010), presented by the Christian Petersen Art Museum, University Museums at Iowa State University.
Accompanying the recent Artists in Iowa: The First Century exhibition is a new major publication, written by Dr. Lea Rosson DeLong, which discusses the seventy works of art by over forty-five Iowa artists in the exhibition. The publication traces the earliest known art by the Meskwaki artist Wachochachi through the art of more recognized artists such as Lee Allen, Grant Wood, Christian Petersen, Christine Glasell and Eve Drewelowe who created New Deal murals, portraits, and captured scenes of urbanization in Iowa. The 258-page full color publication is available for purchase from the University Museums' office during business hours. Cost is $45.00 each; cash, check or credit card accepted."Iowa has a distinctive artistic heritage; we have only to look for it, preserve it, and pass it on to the next generations."-Dr. Lea Rosson DeLong, art historian and exhibition curator
A selection of children's poems and drawings reflecting their surroundings in Terezín Concentration Camp in Czechoslovakia from 1942 to 1944.
Documents significant and pioneering exhibitions that took place between 1962 and 2002.
New Directions for University Museums is intended to help university museum leaders to help them plan strategically in the context of the issues and needs of the 2020s by examining trends affecting them and directions in response to those forces. It will lay out a series of potential directions for university museums in the 21st century using examples from the field. Although university museums are similar to other museums in their topic areas (art, natural history, archaeology, etc.) they are a unique category that requires special consideration. Today university museums are grappling with new forces that are affecting their future: University museums still have a dual responsibility to campus and community, and they still try to mount exhibitions that are attractive to the communities in which they are embedded. But they are rethinking the nature of service to town and gown in response to larger trends around accessibility. It is no longer enough to try to attract visitors; these museums are becoming much more active and outgoing in their outreach to the broader public. They have unparalleled access to academic firepower, but university museum research is no longer the sole province of academics, intended for publication in scholarly journals. In the 2020s, research is being made much more relevant to existential problems of the world. For example, some are bridging the gap between academic research and teaching and the most pressing social issues of our time, such as climate change, the fight against racism and the interface between humans and technology. University museum research is no longer cloistered, and these institutions are finding ways to better leverage the new knowledge yielded by collections-based research for both the university’s and for public benefit. Student engagement and education is still important, but communication is no longer unidirectional (from faculty and museum staff to students). Now student input and co-curation is now invited as learning becomes a two-way street. Moreover, public science communication has become a much more important role for university museums. These are, in effect, the “new directions” to which the title refers. The main thesis of the book is therefore that university museums are becoming much more outward-facing. They are engaging with the public and with the world at large as never before. In effect, they matter more than ever. This is the overarching “new direction”. Within this general approach, there are a number of questions that the book addresses: What are the expectations of university museums in the 21st century from their key stakeholders – university administrations, faculties and students, and the communities in which they are embedded? How are those expectations changing and how are the museums evolving to meet them? How are university museums navigating the minefields of political polarization, “cancel culture” or heightened activism on campus and in society at large? What is the nature of the relationship between the university’s research and teaching mission and the university museum? What trends can we identify, and how can we help the university museum director navigate those trends? The university-donor relationship: what can we learn from a study of donor expectations and the dynamics of university-donor relationships in contemporary society? How is the relationship between the university museum and the broader external community changing? How is the university museum contributing to (or detracting from) the overall relationship between the university and the community? What role is the university museum playing in terms of public communication of research, especially public science communication? This book is for all those who work in, benefit from or are interested in university museums. In particular, it is hoped that the book will help university museum leaders who are embarking on strategic plans understand the common issues that are currently affecting their peers, and provide some context and guidance to those leaders as they chart their own paths for the future and to advance larger goals. For faculty, it will show how the museum can help improve undergraduate teaching and graduate student training via highlights and illustrations of new ways in which faculty departments are cooperating and partnering with their campus museums, and from a university administration point of view, how the museum can help the university achieve its bigger strategic goals (such as helping increase the percentage of successful faculty grant applications).
The Museums and Collections of Higher Education provides an analysis of the historic connections between materiality and higher education, developed through diverse examples of global practice. Outlining the different value propositions that museums and collections bring to higher education, the historic link between objects, evidence and academic knowledge is examined with reference to the origin point of both types of organisation. Museums and collections bring institutional reflection, cross-disciplinary bridges, digital extension options and participatory potential. Given the two primary sources of text and object, a singular source type predisposes a knowledge system to epistemic stasis, whereas mixed sources develop the potential for epistemic disruption and possible change. Museums and collections, therefore, are essential in the academies of higher learning. With the many challenges confronting humanity, it is argued that connecting intellect with social action for societal change through university museums should be a contemporary manifestation of the social contract of universities. Much has been written about museums and universities, but there is little about university museums and collections. This book will interest museum scholars and practitioners especially those unaware that university museums are at the forefront of museological creativity. It will also be of interest to academics and the growing number of leaders and managers in the modern university.