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Management and dissemination of the Intellectual Property (IP) assets maintained by cultural institutions is a key responsibility of caring for collections. Rights and reproductions methodologies are seemingly ever-changing with new technologies, additional distribution avenues, evolving case law, applicable court decisions, and new legislation. This new edition of Rights & Reproductions: The Handbook for Cultural Institutions marks the first time this valuable publication is available in print as well as digital. Building upon the guidelines, standards, and best practices outlined in the first edition, the Handbook further investigates current trends in rights and reproductions practices, notably expanding the discussion of fair use guidelines and codes, Creative Commons and RightsStatements.org, open access, social media applications, and the overall process of conducting rights clearances and obtaining permissions for the growing list of possible uses of a cultural institution’s Intellectual Property. Highlights of the second edition include: A new chapter devoted to fair use and open access Overall updates to applicable case law, rights clearance practices, and distribution partners Over 20 case studies outlining real-world examples from the authors’ experiences and practices at their institutions Expanded glossary defining terms so they are easy to understand Updated appendices with new references, resources, and court decisions Over 50 contract and document templates provided by the authors’ institutions The Handbook is the must-have, comprehensive resource for cultural institution professionals handling rights-related work, including registrars, rights and reproductions managers, archivists, librarians, and lawyers.
How can museum educators facilitate experiences with artworks that are meaningful to viewers? How might educators negotiate divergences between visitors' perspectives and official information? What is the place of emotions and bodily sensations in art viewing? This book explores these and other questions key to generative gallery teaching.
Families are a critical audience for art museums and museums use many different strategies for reaching families, such as special family days and festivals, workshops, special tours, family backpacks and gallery guides, in-gallery materials or demonstration carts, and specific family galleries. Here is a practical guide based on research that helps art museum educators understand the role and value of spaces designed for families and helps them to create dedicated spaces for intergenerational play and learning. This book features insights, best practices, and lessons learned from years of experience in creating dedicated spaces for families in a wide range of art museums. Through case studies, in-depth stories, and engaging graphics and images this book identifies key issues that museum professionals need to consider when developing family spaces in museums. This book is a how-to guide to creating or updating an interactive family space. Everything you need to know, soup to nuts, from understanding your audience to hiring a designer and opening your doors to the public is here. Each section is situated within groundbreaking visitor research findings and how museum educators have used those findings to better understand the family audience and develop fun, safe, inclusive, spaces that inspire wonder and curiosity, as well as places for meaning-making and family bonding, all in the service of creating loyal and committed museum visitors.
Here is will be a practical guide based on deep research that helps art museum educators understand the role and value of spaces designed for families and helps them to create dedicated spaces for intergenerational play and learning.
Teaching in the Art Museum investigates the mission, history, theory, practice, and future prospects of museum education. In this book Rika Burnham and Elliott Kai-Kee define and articulate a new approach to gallery teaching, one that offers groups of visitors deep and meaningful experiences of interpreting art works through a process of intense, sustained looking and thoughtfully facilitated dialogue.--[book cover].
Now available in a deluxe keepsake edition! A Time Best YA Book of All Time (2021) Run away to the Metropolitan Museum of Art with E. L. Konigsburg’s beloved classic and Newbery Medal­–winning novel From the Mixed-Up Files of Mrs. Basil E. Frankweiler. When Claudia decided to run away, she planned very carefully. She would be gone just long enough to teach her parents a lesson in Claudia appreciation. And she would go in comfort-she would live at the Metropolitan Museum of Art. She saved her money, and she invited her brother Jamie to go, mostly because be was a miser and would have money. Claudia was a good organizer and Jamie bad some ideas, too; so the two took up residence at the museum right on schedule. But once the fun of settling in was over, Claudia had two unexpected problems: She felt just the same, and she wanted to feel different; and she found a statue at the Museum so beautiful she could not go home until she bad discovered its maker, a question that baffled the experts, too. The former owner of the statue was Mrs. Basil E. Frankweiler. Without her—well, without her, Claudia might never have found a way to go home.
What does a museum do with a kindergartner who walks through the door? The growth of interest in young children learning in museums has joined the national conversation on early childhood education. Written by Sharon Shaffer, the founding Executive Director of the innovative Smithsonian Early Enrichment Center, this is the first book for museum professionals as well as students offering guidance on planning programming for young children.This groundbreaking book:-Explains the various ways in which children learn-Shows how to use this knowledge to design effective programs using a variety of teaching models-Includes examples of successful programs, tested activities, and a set of best practices
2014 Outstanding Academic Title, Choice "What’s going on in this picture?" With this one question and a carefully chosen work of art, teachers can start their students down a path toward deeper learning and other skills now encouraged by the Common Core State Standards. The Visual Thinking Strategies (VTS) teaching method has been successfully implemented in schools, districts, and cultural institutions nationwide, including bilingual schools in California, West Orange Public Schools in New Jersey, and the San Francisco Museum of Modern Art. It provides for open-ended yet highly structured discussions of visual art, and significantly increases students’ critical thinking, language, and literacy skills along the way. Philip Yenawine, former education director of New York’s Museum of Modern Art and cocreator of the VTS curriculum, writes engagingly about his years of experience with elementary school students in the classroom. He reveals how VTS was developed and demonstrates how teachers are using art—as well as poems, primary documents, and other visual artifacts—to increase a variety of skills, including writing, listening, and speaking, across a range of subjects. The book shows how VTS can be easily and effectively integrated into elementary classroom lessons in just ten hours of a school year to create learner-centered environments where students at all levels are involved in rich, absorbing discussions.
Evaluating Early Learning in Museums presents developmentally appropriate and culturally relevant practices for engaging early learners and their families in informal arts settings. Written by early childhood education researchers and a museum practitioner, the book showcases what high-quality educational programs can offer young children and their families through the case study of a program at the High Museum of Art in Atlanta, Georgia. Providing strategies for building strong community partnerships and audience relationships, the authors also survey evaluation tools for early learning programs and offer strategies to help museums around the world to engage young children. At the center of this narrative is the seminal partnership that developed between researchers and museum educators during the evaluation of a program for toddlers. Illuminating key components of the partnership and the resulting evolution of family offerings at the museum, the book also draws parallels to current work being done at other museums in international contexts. Evaluating Early Learning in Museums illustrates how an interdisciplinary collaboration between researchers and practitioners can improve museum practices. As such, the book will be of interest to researchers and students engaged in the study of museums and early childhood, as well as to practitioners working in museums around the world.
As museums are increasingly asked to demonstrate not only their cultural, but also their educational and social significance, the means to understand how museum visitors learn becomes ever more important. And yet, learning can be conceptualised and investigated in many ways. Coming to terms with how theories about learning interact with one another and how they relate to ‘evidence-based learning’ can be confusing at best. Museum Learning attempts to make sense of multiple learning theories whilst focusing on a set of core learning topics in museums. Importantly, learning is considered not just as a cognitive characteristic, as some perspectives propose, but also as affective, taking into consideration interests, attitudes, and emotions; and as a social practice situated in cultural contexts. This book draws attention to the development of theory and its practical applications in museum situations such as aquariums, zoos, botanical gardens and historical re-enactment sites, among others. This volume will be of interest to museum studies students, practitioners and researchers working in informal learning contexts, and will help them to reflect on what it means to learn in museums and create more effective environments for learning.