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<p>List of Figures viii</p> <p>Preface: How to Use this Book x</p> <p>Acknowledgments xii</p> <p>Introduction 1<br /><i>Janet Marstine</i></p> <p><b>Part I Defining New Museum Theory 37</b></p> <p>A Surveys and Groundwork 39</p> <p>1 Editor’s Introduction 41</p> <p>THE ARCHITECTURE IS THE MUSEUM 41<br /><i>Michaela Giebelhausen</i></p> <p>Questions for Discussion 60</p> <p>2 Editor’s Introduction 64</p> <p>FEMINIST CURATORIAL STRATEGIES AND PRACTICES SINCE THE 1970s 65<br /><i>Katy Deepwell</i></p> <p>Questions for Discussion 80</p> <p>3 Editor’s Introduction 85</p> <p>NEW ART, NEW CHALLENGES: THE CHANGING FACE OF CONSERVATION IN THE TWENTY-FIRST CENTURY 86<br /><i>Rachel Barker and Patricia Smithen</i></p> <p>Questions for Discussion 103</p> <p>B Case Studies in Contemporary Practice 107</p> <p>4 Editor’s Introduction 109</p> <p>HOW WE STUDY HISTORY MUSEUMS: OR CULTURAL STUDIES AT MONTICELLO 109<br /><i>Eric Gable</i></p> <p>Questions for Discussion 126</p> <p>5 Editor’s Introduction 129</p> <p>SPECTACLE AND DEMOCRACY: EXPERIENCE MUSIC PROJECT AS A POST-MUSEUM 130<br /><i>Chris Bruce</i></p> <p>Questions for Discussion 149</p> <p>6 Editor’s Introduction 152</p> <p>REVEALING AND CONCEALING: MUSEUMS, OBJECTS, AND THE TRANSMISSION OF KNOWLEDGE IN ABORIGINAL AUSTRALIA 153<br /><i>Moira G. Simpson</i></p> <p>Questions for Discussion 174</p> <p>7 Editor’s Introduction 178</p> <p>RESTRUCTURING SOUTH AFRICAN MUSEUMS: REALITY AND RHETORIC WITHIN CAPE TOWN 179<br /><i>Julie L. McGee</i></p> <p>Questions for Discussion 196</p> <p><b>Part II Looking to the Future: Theory into Practice 201</b></p> <p>8 Editor’s Introduction 203</p> <p>THE CRITICAL MUSEUM VISITOR 203<br /><i>Margaret Lindauer</i></p> <p>Questions for Discussion 223</p> <p>9 Editor’s Introduction 226</p> <p>VISITING THE VIRTUAL MUSEUM: ART AND EXPERIENCE ONLINE 226<br /><i>Lianne McTavish</i></p> <p>Questions for Discussion 244</p> <p>10 Editor’s Introduction 247</p> <p>REFRAMING STUDIO ART PRODUCTION AND CRITIQUE 248<br /><i>Helen Klebesadel</i></p> <p>Questions for Discussion 263</p> <p>11 Editor’s Introduction 266</p> <p>THE UNIVERSITY MUSEUM AND GALLERY: A SITE FOR INSTITUTIONAL CRITIQUE AND A FOCUS OF THE CURRICULUM 267<br /><i>Lyndel King and Janet Marstine</i></p> <p>Questions for Discussion 288</p> <p>12 Editor’s Introduction 292</p> <p>MUSEUM ARCHIVES AS RESOURCES FOR SCHOLARLY RESEARCH AND INSTITUTIONAL IDENTITY 293<br /><i>Lois Marie Fink</i></p> <p>Questions for Discussion 306</p> <p>Bibliography 308</p> <p>Index 322</p>

“This book offers a fresh approach to teaching museum studies – combining a synoptic view of prevailing museum theories with pragmatic end of chapter review questions.” -- Flora <i>Edouwaye</i> S. Kaplan, New York University<br /> <p><br /> </p> <p>“An excellent book for students of museums. In developing a creative and effective analytical toolkit for critical museum visitors, this original volume will also prove essential for aspiring museum professionals.” -- Eilean Hooper-Greenhill, University of Leicester</p>

<b>Janet Marstine</b> is an art historian who has taught at Bowdoin College and Central Washington University. She has curated several exhibitions and is now working on new approaches to student and faculty exhibitions.

<i>New Museum Theory and Practice</i> is an original collection of essays with a unique focus: the contested politics and ideologies of museum practice. This lively introduction, comprised of essays authored by curators, archivists, scholars, teachers, and conservators from around the world – including the Tate, the Smithsonian, and the Experience Music Project – and from all levels of museum studies, examines the incendiary issues currently raging in the field. Complete with editorial introductions, questions for students, and a comprehensive bibliography, the volume surveys the concerns of the museum in language accessible to undergraduate and graduate students of art history, studio art, and museum studies.

“This book offers a fresh approach to teaching museum studies – combining a synoptic view of prevailing museum theories with pragmatic end of chapter review questions.” <br /> –Flora <i>Edouwaye</i> S. Kaplan, New York University <p>“An excellent book for students of museums. In developing a creative and effective analytical toolkit for critical museum visitors, this original volume will also prove essential for aspiring museum professionals.” <br /> –Eilean Hooper-Greenhill, University of Leicester</p>

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