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Museums and Popular Culture seeks to unravel the paradox that to adequately reflect popular culture museums may need to abandon their traditional form. This is a book which no one interested in museums can afford to ignore.
Museums, Emotion, and Memory Culture examines the politics of emotion in history museums, combining approaches and concerns from museum, heritage and memory studies, anthropology and studies of emotion. Exploring the meanings and politics of memory contests in Turkey, a site for complex negotiations of identity, the book asks what it means for museums to charge the past with political agendas through spectacular, emotive representations. Providing an in-depth examination of emotional practice in two Turkish museums that present contrasting representations of the national past, the book analyses relationships between memory, governmentality, identity, and emotion. The museums discussed celebrate Ottoman and Early Republican pasts, linking to geo- and party politics, people’s senses of who they are, popular memory culture, and competing national stories and identities vis-à-vis Europe and the wider world. Both museums use dramatic, emotive panoramas as key displays and the research at the heart of this book explores this seemingly anachronistic choice, and how it links with memory cultures to prompt visitors to engage imaginatively, socially, politically and morally with a particular version of the past. Although the book focuses on museums in Turkey, it uses this as a platform to address broader questions about memory culture, emotion, and identity. As such, Museums and Memory Culture should be of great interest to academics and students around the world who are engaged in the study of museums, heritage, culture, history, politics, anthropology, sociology, and the psychology of emotion.
Andrew Carnegie is remembered as one of the world's great philanthropists. As a boy, he witnessed the benevolence of a businessman who lent his personal book collection to laborer's apprentices. That early experience inspired Carnegie to create the "Free to the People" Carnegie Library in 1895 in Pittsburgh, Pennsylvania. In 1896, he founded the Carnegie Institute, which included a music hall, art museum, and science museum. Carnegie deeply believed that education and culture could lift up the common man and should not be the sole province of the wealthy. Today, his Pittsburgh cultural institution encompasses a library, music hall, natural history museum, art museum, science center, the Andy Warhol Museum, and the Carnegie International art exhibition. In Palace of Culture, Robert J. Gangewere presents the first history of a cultural conglomeration that has served millions of people since its inception and inspired the likes of August Wilson, Andy Warhol, and David McCullough. In this fascinating account, Gangewere details the political turmoil, budgetary constraints, and cultural tides that have influenced the caretakers and the collections along the way. He profiles the many benefactors, trustees, directors, and administrators who have stewarded the collections through the years. Gangewere provides individual histories of the library, music hall, museums, and science center, and describes the importance of each as an educational and research facility. Moreover, Palace of Culture documents the importance of cultural institutions to the citizens of large metropolitan areas. The Carnegie Library and Institute have inspired the creation of similar organizations in the United States and serve as models for museum systems throughout the world.
This collection of insightful essays by outstanding artists, anthropologists, historians, classicists and humanists was developed to broaden the study of popular culture and to provide instances of original and innovative interdisciplinary approaches. Its first purpose is to broaden the study of popular culture which is too often regarded in the academic world as the entertainment and leisure time activities of the 20th century. Second, the collection gives recognition to the fact that a number of disciplines have been investigating popular phenomena on different fronts, and it is designed to bring examples of these disciplines together under the common rubric of "popular culture." Related to this is a third purpose of providing instances of original and innovative interdisciplinary approaches. Last, the collection should be a worthwhile contribution to the component disciplines as well as to the study of popular culture.
Taking Punk to the Masses: From Nowhere to Nevermind visually documents the explosion of Grunge, the Seattle Sound, within the context of the underground punk subculture that was developing throughout the u.S. in the late 1970s and 1980s. The book serves as a companion and contextual backdrop to the Nirvana: Taking Punk to the Masses exhibition, which opens at Seattle’s Experience Music Project in 2011. This decade-and-a-half musical journey will be represented entirely through the lens of EMP’s oral history and permanent object collection, an invaluable and rich cultural archive of over 800 interviews and 140,000 objects ― instruments, costumes, posters, records and other ephemera dedicated to the pursuit of rock ’n’ roll. Taking Punk to the Masses focuses on 100 key objects from EMP’s permanent collection that illustrate the evolution of punk rock from underground subculture to the mainstream embrace (and subsequent underground rejection) of Grunge. These objects are put into context by the stories of those who lived it, culling from EMP’s vast archive of oral histories with such Northwest icons as Mudhoney’s Mark Arm, cartoonist Peter Bagge, design legend Art Chantry, Beat Happening’s Calvin Johnson, Sub Pop founders Bruce Pavitt and Jonathan Poneman, the Screaming Trees’ Mark Lanegan, Nirvana’s krist Novoselic, photographer Charles Petersen, Soundgarden’s kim Thayil, and dozens of others. From the Northwest’s earliest punk bands like The Wipers, to proto-grunge bands of the 1980s like Green River, Melvins and Malfunkshun, through the heady 1990s when bands such as Nirvana, Soundgarden, Pearl Jam, Alice in Chains and Mudhoney rose to the national stage and popularized alternative music, Taking Punk to the Masses is the first definitive history of one of America’s most vibrant music scenes, as told by the participants who helped make it so, and through the artifacts that survive.
With the question, "What does it mean to show?", the author explores the agency of display in museums and tourist attractions. She looks at how objects are made to perform their meaning by being collected and how techniques of display, not just the things shown, convey a powerful message.
ONE OF AMAZON'S BEST ART & PHOTOGRAPHY BOOKS 0F 2018 AN NPR AND PITCHFORK BEST MUSIC BOOK OF 2018 PICK ONE OF TIME'S 25 BEST PHOTOBOOKS OF 2018 NEW YORK TIMES, ASSOCIATED PRESS, WALLSTREET JOURNAL, ROLLING STONE, AND CHICAGO SUN HOLIDAY GIFT GUIDE PICK The perfect gift for music and photography fans, an inside look at the work of hip-hop photographers told through their most intimate diaries—their contact sheets. Featuring rare outtakes from over 100 photoshoots alongside interviews and essays from industry legends, Contact High: A Visual History of Hip-Hop takes readers on a chronological journey from old-school to alternative hip-hop and from analog to digital photography. The ultimate companion for music and photography enthusiasts, Contact High is the definitive history of hip-hop’s early days, celebrating the artists that shaped the iconic album covers, t-shirts and posters beloved by hip-hop fans today. With essays from BILL ADLER, RHEA L. COMBS, FAB 5 FREDDY, MICHAEL GONZALES, YOUNG GURU, DJ PREMIER, and RZA
What are museums for? How far should museums shift from their traditional focus on high culture to explore popular culture? How can the passion people feel for popular material culture best be conveyed in displays? In attempting to answer these fundamental questions, Kevin Moore offers a radical critique of existing museum practice, arguing that, in order to have a sustainable future, museums must rise to the challenge of representing popular culture. Drawing on examples (both successful and unsuccessful) of contemporary museum practice, including the V&A's blockbuster shows on David Bowie and Alexander McQueen, and the Saatchi Gallery's Rolling Stones exhibiti, he seeks to unravel the paradox that to reflect popular culture adequately, museums may need to abandon their traditional form.
Contributions by Kenneth Baker, Jaqueline Berndt, Albert Boime, John Carlin, Benoit Crucifix, David Deitcher, Michael Dooley, Damian Duffy, M. C. Gaines, Paul Gravett, Diana Green, Karen Green, Doug Harvey, Charles Hatfield, M. Thomas Inge, Leslie Jones, Jonah Kinigstein, Denis Kitchen, John A. Lent, Dwayne McDuffie, Andrei Molotiu, Alvaro de Moya, Kim A. Munson, Cullen Murphy, Gary Panter, Trina Robbins, Rob Salkowitz, Antoine Sausverd, Art Spiegelman, Scott Timberg, Carol Tyler, Brian Walker, Alexi Worth, Joe Wos, and Craig Yoe Through essays and interviews, Kim A. Munson’s anthology tells the story of the over-thirty-year history of the artists, art critics, collectors, curators, journalists, and academics who championed the serious study of comics, the trends and controversies that produced institutional interest in comics, and the wax and wane and then return of comic art in museums. Audiences have enjoyed displays of comic art in museums as early as 1930. In the mid-1960s, after a period when most representational and commercial art was shunned, comic art began a gradual return to art museums as curators responded to the appropriation of comics characters and iconography by such famous pop artists as Andy Warhol and Roy Lichtenstein. From the first-known exhibit to show comics in art historical context in 1942 to the evolution of manga exhibitions in Japan, this volume regards exhibitions both in the United States and internationally. With over eighty images and thoughtful essays by Denis Kitchen, Brian Walker, Andrei Molotiu, Paul Gravett, Art Spiegelman, Trina Robbins, and Charles Hatfield, among others, this anthology shows how exhibitions expanded the public dialogue about comic art and our expectation of “good art”—displaying how dedicated artists, collectors, fans, and curators advanced comics from a frequently censored low-art medium to a respected art form celebrated worldwide.
A leading activist museum director explains why museums are at the center of a political storm In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to resign at the Whitney. That is to say nothing of demonstrations against exhibitions and artworks. Protests have roiled institutions across the world, from the Abu Dhabi Guggenheim to the Akron Art Museum. A popular expectation has grown that galleries and museums should work for social change. As Director of the Queens Museum, Laura Raicovich helped turn that New York muni- cipal institution into a public commons for art and activism, organizing high-powered exhibitions that doubled as political protests. Then in January 2018, she resigned, after a dispute with the Queens Museum board and city officials. This public controversy followed the museum’s responses to Donald Trump’s election, including her objections to the Israeli government using the museum for an event featuring Vice President Mike Pence. In this lucid and accessible book, Raicovich examines some of the key museum flashpoints and provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding conservative, capitalist values. And she suggests ways museums can be reinvented to serve better, public ends.