Juilee Decker

Fallen Monuments and Contested Memorials examines how the modification, destruction, or absence of monuments and memorials can be viewed as performative acts that challenge prescribed, embodied narratives in the public realm. Bringing together international, multidisciplinary approaches, the chapters in this volume interrogate the ways in which memorial constructions disclose implicitly and explicitly the proxy battle for public memory and identity, particularly since 2015. Acknowledging the ways in which the past — which is given agency through monuments and memorials — intrudes into daily life, this volume offers perspectives from researchers that answer questions about the roles of monuments and memorials as persistent, yet mutable, works whose meanings are not fixed but are, rather, subject to processes of continual re-interpretation. By using monuments and memorials as lenses through which to view race, memory, and the legacies of war, power, and subjugation, this volume demonstrates how these works, and their visible representations of entitlement, possession, control, and authority, can offer the opportunity to pose and answer questions about whose memory matters and what our symbols say about who we are and what we value. Fallen Monuments and Contested Memorials is essential reading for scholars and students studying cultural heritage, history, art history, and public history. It will be particularly useful to those with an interest in public monuments and memorials; colonial and post-colonial history; memory studies; and nationalism, race, and ethnic studies.

Fallen Monuments and Contested Memorials

Collections

This issue of the journal and its sister (14.04) brings together sixteen contributions from scholars from a variety of perspectives around the topic of Women & Collections. The articles present the work of independent scholars, researchers, and practitioners as well as those situated in academy and collecting institutions.

Collections Vol 14

Louisville-born and nationally renowned sculptor Enid Yandell (1869–1934) was ahead of her time. She began her career when sculpture was considered too physical, too messy, and too masculine for women. Yandell challenged the gender norms of early-twentieth-century artistic practice and became an award-winning sculptor, independent artist, and activist for women's suffrage. This study examines Yandell's life and work: how she grew from a young, Southern dilettante— the daughter of a Confederate medical officer—into a mature, gifted artist who ran in circles with more established male artists in New York and Paris, such as Frederick MacMonnies and Auguste Rodin. At the World's Columbian Exposition in Chicago in 1893, she was one of a select group of women sculptors, known as the White Rabbits, who sculpted the statues and architectural embellishments of the fair. As a result of her success in Chicago, Yandell was commissioned to create a twenty-five foot figure of Pallas Athena for Nashville's Centennial Exposition in 1897. Newspapers hailed it as the largest statue ever created by a woman. Yandell's command of classical subject matter was matched by her abilities with large-scale, figurative works such as the Daniel Boone statue in Cherokee Park, Louisville. In 1898 Yandell was among the first women to be selected for membership in the National Sculpture Society, the first organization of professional sculptors formed in the United States. Presented to coincide with the 150th anniversary of her birth, this study demonstrates the ways in which Yandell was a pioneer and draws attention to her legacy.

Kentucky's Pioneer Sculptor

Enid Yandell

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 Vol 12

Mary Alexander

Edward P. Alexander

Here is a complete introduction to the history of museums, types of museums, and the key roles that museums play in the twenty-first century. Following an introductory chapter looking at what a museum is today, Part I looks at the history and types of museums: art and design museums natural history and anthropology museums science museums history museums, historic houses, interpretation centers, and heritage sites botanical gardens and zoos children’s museums The second part of the book explores the primary functions of museums and museum professionals: to collect to conserve to exhibit to interpret and to engage to serve and to act The final chapter looks at the museum profession and professional practices. Throughout, emphasis is on museums in the United States, although attention is paid to the historical framing of museums within the European context. The new edition includes discussions of technology, access, and inclusivity woven into each chapter, a list of challenges and opportunities in each chapter, and “Museums in Motion Today,” vignettes spread throughout the volume in which museum professionals provide their perspectives on where museums are now and where they are going. More than 140 images illustrate the volume.

An Introduction to the History and Functions of Museums

Museums in Motion

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

Innovative Approaches for Museums

Engagement and Access

This focus issue of the journal examines case studies from the field of photographic preservation and collections management. Guest Editor, Olivia Arnone, provides a history and context for the eponymous program based at the George Eastman Museum in Rochester, NY. Six amply-illustrated articles addressing this area of research follow.

Juilee Decker

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