The Last Museum


Book Description

A wealthy Californian plans to buy the Parisian hotel that was home to Ginsberg, Kerouac, and Burroughs in the sixties, and ship it to America, where it is to be reassembled on the San Andreas Fault as a museum




The Art Museum in Modern Times


Book Description

A compelling examination of the art museum from a renowned director, this sweeping book explores how architecture, vision, and funding have transformed art museums around the world over the past eighty years. How have art museums changed in the past century? Where are they headed in the future? Charles Saumarez Smith is uniquely qualified to answer these questions, having been at the helm of three major institutions over the course of his distinguished career. For The Art Museum in Modern Times, Saumarez Smith has undertaken an odyssey, visiting art museums across the globe and examining how the experience of art is shaped by the buildings that house it. His story starts with the Museum of Modern Art in New York, one of the first museums to focus squarely on the art of the present rather than the past. When it opened in 1939, MoMA’s boldly modernist building represented a stark riposte to the neoclassicism of most earlier art museums. From there, Saumarez Smith investigates dozens of other museums, including the Tate Modern in London, the Getty Center in Los Angeles, the West Bund Museum in Shanghai, and the Centre Pompidou in Paris. He explores our shifting reasons for visiting museums, changes to the way exhibits are organized and displayed, and the spectacular new architectural landmarks that have become destinations in their own right. Global in scope yet full of personal insight, this fully illustrated celebration of the modern art museum will appeal to art lovers, museum professionals, and museum goers alike.




The Museum


Book Description

Celebrates the resilience of American cultural institutions in the face of national crises and challenges On an afternoon in January 1865, a roaring fire swept through the Smithsonian Institution. Dazed soldiers and worried citizens could only watch as the flames engulfed the museum’s castle. Rare objects and valuable paintings were destroyed. The flames at the Smithsonian were not the first—and certainly would not be the last— disaster to upend a museum in the United States. Beset by challenges ranging from pandemic and war to fire and economic uncertainty, museums have sought ways to emerge from crisis periods stronger than before, occasionally carving important new paths forward in the process. The Museum explores the concepts of “crisis” as it relates to museums, and how these historic institutions have dealt with challenges ranging from depression and war to pandemic and philosophical uncertainty. Fires, floods, and hurricanes have all upended museum plans and forced people to ask difficult questions about American cultural life. With chapters exploring World War I and the 1918 influenza pandemic, the Great Depression, World War II, the 1970 Art Strike in New York City, and recent controversies in American museums, this book takes a new approach to understanding museum history. By diving deeper into the changes that emerged from these key challenges, Samuel J. Redman argues that cultural institutions can—and should— use their history to prepare for challenges and solidify their identity going forward. A captivating examination of crisis moments in US museum history from the early years of the twentieth century to the present day, The Museum offers inspiration in the resilience and longevity of America’s most prized cultural institutions.




The Final Reveille


Book Description

As the director of Barton Farm, a living history museum, Kelsey Cambridge is underpaid and underappreciated, but she loves every minute of it. Determined to keep the struggling museum open, she plans to impress Barton Farm's wealthy benefactress, Cynthia Cherry, with a Civil War reenactment on the farm's grounds. Unfortunately, the first shot in the battle isn't from a period soldier. It's from Cynthia's greedy nephew, Maxwell, who fires a threat at Kelsey to cut the museum's funding. The next morning, things go from bad to worse when Kelsey discovers Maxwell dead. Now Kelsey is the number one suspect, and she must start her own investigation to save Barton Farm...and herself. Praise: "History and Civil War buffs will enjoy the historical details woven through the mystery, and Kelsey and the secondary characters are well drawn and sympathetic. This one will appeal to readers who enjoy contemporary cozies with a history frame."—Booklist "Very well written...with great characterization, history, plot, and humor galore. A definite 5-star."—Suspense Magazine "Flower combines a plethora of suspects, a soupçon of history, and a dash of romance."—Kirkus Reviews "Flower peppers [The Final Reveille] with enough historical detail and snarky one-liners to make readers intrigued to see what she'll do next."—Library Journal "A thoroughly enjoyable mystery with history, humor, and heart!"—Krista Davis, New York Times bestselling author of The Domestic Diva Mystery Series "A spunky heroine in a fast-paced mystery...what a fun book to read!"—Mary Ellis, author of The Civil War Heroines Series




Inside the Lost Museum


Book Description

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.




The American Museum of Natural History and How It Got That Way


Book Description

Tells the story of the building of the American Museum of Natural History and Hayden Planetarium, a story of history, politics, science, and exploration, including the roles of American presidents, New York power brokers, museum presidents, planetarium directors, polar and African explorers, and German rocket scientists. The American Museum of Natural History is one of New York City’s most beloved institutions, and one of the largest, most celebrated museums in the world. Since 1869, generations of New Yorkers and tourists of all ages have been educated and entertained here. Located across from Central Park, the sprawling structure, spanning four city blocks, is a fascinating conglomeration of many buildings of diverse architectural styles built over a period of 150 years. The first book to tell the history of the museum from the point of view of these buildings, including the planned Gilder Center, The American Museum of Natural History and How It Got That Way contextualizes them within New York and American history and the history of science. Part II, “The Heavens in the Attic,” is the first detailed history of the Hayden Planetarium, from the museum’s earliest astronomy exhibits, to Clyde Fisher and the original planetarium, to Neil deGrasse Tyson and the Rose Center for Earth and Space, and it features a photographic tour through the original Hayden Planetarium. Author Colin Davey spent much of his childhood literally and figuratively lost in the museum’s labyrinthine hallways. The museum grew in fits and starts according to the vicissitudes of backroom deals, personal agendas, two world wars, the Great Depression, and the Cold War. Chronicling its evolution―from the selection of a desolate, rocky, hilly, swampy site, known as Manhattan Square to the present day―the book includes some of the most important and colorful characters in the city’s history, including the notoriously corrupt and powerful “Boss” Tweed, “Father of New York City” Andrew Haswell Green, and twentieth-century powerbroker and master builder Robert Moses; museum presidents Morris K. Jesup, Henry Fairfield Osborn, and Ellen Futter; and American presidents, polar and African explorers, dinosaur hunters, and German rocket scientists. Richly illustrated with period photos, The American Museum of Natural History and How It Got That Way is based on deep archival research and interviews.




The Unnatural History Museum


Book Description

Viktor Wynd, master of the contemporary Wunderkabinett, is back with a collection of artifacts and curiosities that are more bizarre and wonderful than ever. For over a decade, from a tiny storefront in east London, the artist Viktor Wynd has been reinventing the cabinet of curiosities for the 21st century. The Viktor Wynd Museum of Curiosities, Fine Art & UnNatural History is now one of the city's most tantalizing tourist destinations. Wynd first introduced his worldview in the book Viktor Wynd's Cabinet of Wonders, which John Waters called "an insanely delightful how-to guide...told with lunatic humor and absolute joy." In this new volume, he takes readers on a tour inside his mildly-twisted mind, delving deeper into his philosophy of collecting, and describing personal connections to the objects he treasures. Written in his trademark charismatic style, which blends whimsical stories with odd facts and obscure references, this book is filled with lavish and theatrical photographs and drawings. Loosely organized into thematic chapters, it ponders the beauty of skulls and masks; explores beasts, freaks, monsters, fairies, and mermaids; covers magical plants, hallucinogens, erotica, and dandies; and dips into the world of the occult. This might not be a book for everyone. However, it is a book everyone interested in cabinets of curiosities should have on their shelf.




Museum of Objects Burned by the Souls in Purgatory


Book Description

Titled after a small gallery of the same name found in Rome, the poems are devoted to meditations on religious relics and works of art. They explore the narrative power these objects carry—the way we imbue totemic figures with both meaning and story, and the potential they have to define the world.




The Secret Museum


Book Description

'The Secret Museum' is a treasure trove of the most intriguing artifacts hidden away in museum archives from all over the world - curated, brought to light, and brought to life by Molly Oldfield in an illustrated collection.




The Last Painting of Sara de Vos


Book Description

“Written in prose so clear that we absorb its images as if by mind meld, “The Last Painting” is gorgeous storytelling: wry, playful, and utterly alive, with an almost tactile awareness of the emotional contours of the human heart. Vividly detailed, acutely sensitive to stratifications of gender and class, it’s fiction that keeps you up at night — first because you’re barreling through the book, then because you’ve slowed your pace to a crawl, savoring the suspense.” —Boston Globe A New York Times Bestseller A New York Times Book Review Editor's Choice A RARE SEVENTEENTH-CENTURY PAINTING LINKS THREE LIVES, ON THREE CONTINENTS, OVER THREE CENTURIES IN THE LAST PAINTING OF SARA DE VOS, AN EXHILARATING NEW NOVEL FROM DOMINIC SMITH. Amsterdam, 1631: Sara de Vos becomes the first woman to be admitted as a master painter to the city’s Guild of St. Luke. Though women do not paint landscapes (they are generally restricted to indoor subjects), a wintry outdoor scene haunts Sara: She cannot shake the image of a young girl from a nearby village, standing alone beside a silver birch at dusk, staring out at a group of skaters on the frozen river below. Defying the expectations of her time, she decides to paint it. New York City, 1957: The only known surviving work of Sara de Vos, At the Edge of a Wood, hangs in the bedroom of a wealthy Manhattan lawyer, Marty de Groot, a descendant of the original owner. It is a beautiful but comfortless landscape. The lawyer’s marriage is prominent but comfortless, too. When a struggling art history grad student, Ellie Shipley, agrees to forge the painting for a dubious art dealer, she finds herself entangled with its owner in ways no one could predict. Sydney, 2000: Now a celebrated art historian and curator, Ellie Shipley is mounting an exhibition in her field of specialization: female painters of the Dutch Golden Age. When it becomes apparent that both the original At the Edge of a Wood and her forgery are en route to her museum, the life she has carefully constructed threatens to unravel entirely and irrevocably.