MUSEUM AND GALLERY STUDIES

THE BASICS

Museum and Gallery Studies: The Basics is an accessible guide for the student approaching
Museum and Gallery Studies for the first time. Taking a global view, it covers the key
ideas, approaches and contentious issues in the field. Balancing theory and practice, the
book addresses important questions such as:

x What are museums and galleries?

x Who decides which kinds of objects are worthy of collection?
x How are museums and galleries funded?
x What ethical concerns do practitioners need to consider?
x How is the field of Museum and Gallery Studies developing?

This user-friendly text is an essential read for anyone wishing to work within museums
and galleries, or seeking to understand academic debates in the field.

Rhiannon Mason is Professor of Heritage and Cultural Studies and Head of the School
of Arts and Cultures at Newcastle University, UK. Her teaching and research focuses
on the role of heritage and memory institutions in mediating public understandings of
people’s histories, cultures and identities.

Alistair Robinson is Director of the Northern Gallery for Contemporary Art, having
held positions at the Victoria & Albert Museum and the National Museum of Photography
Film & Television. He is undertaking research into museums of modern art collecting
contemporary art.

Emma Coffield is an Early Career Academic Fellow in Media, Culture, Heritage

(MCH) at Newcastle University, UK, and leads the MA in Art Museum and Gallery
Studies. Her research focuses on contemporary art history, production and display, and
the spatial politics of artistic practice.
THE BASICS

For a full list of titles in this series, please visit www.routledge.com/

The-Basics/book-series/B
MEN AND MASCULINITIY
NIGEL EDLEY

NARRATIVE
BRONWEN THOMAS

POETRY (THIRD EDITION)

JEFFREY WAINWRIGHT

THE QUR’AN (SECOND EDITION)

MASSIMO CAMPANINI

RESEARCH METHODS
NIGEL EDLEY

SEMIOTICS
DANIEL CHANDLER

SPECIAL EDUCATIONAL NEEDS AND DISABILITY (SECOND EDITION)

JANICE WEARMOUTH

SPORT MANAGEMENT
ROBERT WILSON AND MARK PIEKARZ

SPORTS COACHING
LAURA PURDY

TRANSLATION
JULIANE HOUSE
MUSEUM AND GALLERY
STUDIES
THE BASICS

Rhiannon Mason, Alistair Robinson

and Emma Coffield
First published 2018
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
¤ 2018 Rhiannon Mason, Alistair Robinson and Emma Coffield
The right of Rhiannon Mason, Alistair Robinson and Emma Coffield to be identified
as authors of this work has been asserted by them in accordance with sections 77
and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in
any form or by any electronic, mechanical, or other means, now known or hereafter
invented, including photocopying and recording, or in any information storage or
retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered
trademarks, and are used only for identification and explanation without intent to
infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
A catalog record for this title has been requested

ISBN: 978-0-415-83454-4 (hbk)

ISBN: 978-0-415-83455-1 (pbk)
ISBN: 978-1-315-14857-1 (ebk)

Typeset in Bembo and Scala Sans

by Book Now Ltd, London
 CONTENTS

List of illustrations vii

Acknowledgements ix

Introduction 1
1 First principles 17
2 Collecting and collections 54
3 Visitors and audiences 86
4 The business of culture 130
5 Display, interpretation and learning 164
6 Looking forward 205

Index 222
 ILLUSTRATIONS

FIGURES
0.1 The Great Court, British Museum, London.
¤ The Trustees of the British Museum 5
0.2 Tate Modern, Bankside, London.
¤ Tate, London 2017 12
1.1 The frontage of the British Museum.
¤ The Trustees of the British Museum 18
2.1 Spirit-preserved specimens in the Collection of
the Natural History Society of Northumbria.
¤ Dan Gordon, Tyne and Wear Archives
and Museums 55
3.1 Visitors at the Great North Museum: Hancock,
Newcastle University. ¤ Colin Davison/Tyne
and Wear Archives and Museums 95
3.2 Exterior view of the National Museum of the
American Indian, Washington, DC.
¤ Rhiannon Mason 116
4.1 Proportion of overseas and UK visits to
DCMS-sponsored museums in 2013/2014. ¤ DCMS 150
5.1 Furniture in the French Second Empire style, owned
by John and Josephine Bowes and used in their
VIII ILLUSTRATIONS

homes in Paris in the 1850s and 60s, now displayed

in The Bowes Museum. ¤ The Bowes Museum,
Barnard Castle, County Durham 165
5.2 The Ardabil Carpet, by Maqsud of Kashan. Iran,
mid-16th century. ¤ Victoria and Albert
Museum, London 166
5.3 National Gallery of Art, Washington, DC. Designed
1937 and opened 1941. ¤ Rhiannon Mason 176
5.4 Museo Universitario Arte Contemporáneo
Universidad Nacional Autónoma de México (MUAC),
Mexico City. Opened 2008. ¤ Rhiannon Mason 177
5.5 Museu d’Art Contemporani de Barcelona (MACBA),
Spain. Opened 1995. ¤ Alistair Robinson 178
5.6 Tate Modern: Interior gallery with visitors.
¤ Tate, London 2009 181
5.7 Installation at Northern Gallery for Contemporary
Art (NGCA), Sunderland, 2006.
¤ Colin Davison/NGCA 182
5.8 ‘The Road to Partition’ Gallery showing different
coloured kerbstones on either side.
¤ Tower Museum Derry/Londonderry 188
5.9 The Annunciation, by Sandro Botticelli
(circa 1445–1510). ¤ CSG CIC Glasgow Museums
and Libraries Collections 197
6.1 ‘Game Changers’ Gallery in the National Museum
of African American History and Culture.
¤ National Museum of African American History
and Culture (NMAAHC) 206
6.2 Exterior view of the National Museum of African
American History and Culture. ¤ National
Museum of African American History
and Culture (NMAAHC) 210

TABLES
0.1 Visitor figures for London’s top four most
visited museums 10
0.2 Most visited art galleries in the world in 2015 11
 ACKNOWLEDGEMENTS

This book represents the shared thinking and practice around museums
and galleries in which we have been engaged, both independently and
collaboratively, for the past two decades. Our perspectives owe much
to our experiences of teaching on the Masters and PhD programmes in
Museum, Gallery and Heritage Studies at Newcastle University. Our
ideas have been tested, challenged and developed through discussions
with our students and colleagues in this context. Similarly, our col-
laborations with colleagues on research projects and publications have
further shaped our own understandings of the field.
Most importantly, our fascination with museums and galleries has
been enriched and sustained through the collective enthusiasm for
our subject that defines the community of museum, gallery and her-
itage scholars, practitioners and students at Newcastle. At the same
time, academics at other museum, gallery and heritage HE depart-
ments and institutions in the UK, and beyond, have also shaped our
thinking. We recognize that ours is a very rich, interdisciplinary and
cooperative field of study.
We would like to thank the reviewers at proposal and draft stage who
provided us with such constructive and thoughtful feedback. Thanks
also to the team at Routledge for their support and endless patience
throughout the long process of bringing this project to completion.
X ACKNOWLEDGEMENTS

Specifically, we would like to thank the following people for

their input: Joanne Sayner who read an early draft, Katherina Massing
who helped us understand the linguistic issues around terms such as
museum and gallery in the Chinese context, Susannah Eckersley who
similarly informed our understanding of the terms in the German
context, Chris Whitehead who greatly informed our understanding
of museum and gallery history, as well as how to critically think about
display, Bethany Rex who contributed to our review of international
museum definitions, Peter Davis who both inspired and encouraged
us, as well as introducing us to a much broader, international under-
standing of museological thinking and practice, and Areti Galani for
teaching us so much about Digital Heritage over the years. Our thanks
also go to Zelda Baveystock, Gerard Corsane, Elizabeth Crooke,
Simon Knell, Viv Golding, Katherine Lloyd, Suzanne McLeod,
Wayne Modest, Andrew Newman, Aron Mazel, Bryony Onciul,
Richard Sandell, Peter Stone, Iain Watson, Sheila Watson, Iain
Wheeldon, Helen White, Conal McCarthy, and Andrea Witcomb
for many stimulating discussions around museums, heritage and gal-
leries over the years. Any errors remain our own responsibility.
Our thanks also go to the following museums and galleries who
gave their permission for us to include the images and tables in this
book: Tower Museum, Derry; British Museum, London; Tate
Gallery, London; DCMS; Kelvingrove Museum and Art Gallery,
Glasgow; Bowes Museum, County Durham; V&A Museum,
London; Great North Museum, Hancock, Newcastle; National
Museum of African-American History and Culture, Washington.
 INTRODUCTION

What are museums and galleries for? Why do societies have them?
What’s the point of them? How much power and influence do they
have over the way people understand the past, present and future
and what responsibilities does this bring? How do they communi-
cate ideas and values through their collections, displays and interpre-
tation? What public roles do and should they play? Who are they
for? Who do they represent and, crucially, who do they not represent
and why? Does it matter if they don’t represent everyone and their
cultures and histories? Is it even possible to represent everyone and
everything? Are museums political or are they neutral spaces?
Should the public pay for museums and galleries collectively
through general taxation, or should people pay on entrance through
ticketing, as with sports matches or theatre visits? Should museums
and galleries be expected to rely on the generosity or needs of pri-
vate donors and corporate sponsors to support them? What are the
ethical implications of the financial arrangements which underpin
museums and galleries? This book, and the field of museum and gal-
lery studies, addresses these questions among many others.
In Europe, museums and galleries have been in existence since
the seventeenth century (see Chapter 2) and are a ‘part of the land-
scape’ in almost every medium or large city. Elsewhere in the world,
2 INTRODUCTION

as in China and the Persian Gulf, there is a ‘museum boom’ going

on right now, where museums and galleries are being built in great
numbers and with great expense. In many parts of the world, we
are so used to having museums and galleries that it is easy to take
their existence and importance for granted. However, it is impor-
tant to ask ourselves why societies and governments worldwide
have taken hundreds of millions of objects out of commercial cir-
culation to keep ownership of them in ‘public’ hands. Building an
institution like a museum or gallery is a major financial burden. It
usually requires a huge form of ‘capital expenditure’ where a vast
sum of money must be found and not used on any other urgent
requirement. Maintaining an institution like a museum or a gallery
is disproportionately expensive to other spaces. They require special
air-conditioning and environmental controls, security, storage, con-
servation and, of course, staff to look after everything. Museums and
galleries have high fixed costs while having relatively few opportu-
nities to raise the funds to cover them; this means they are always
reliant on financial support from donors, patrons or the state. Most
importantly, the whole idea of the traditional museum or gallery
is that it has a responsibility to house, protect and conserve its col-
lections forever. This is not only a philosophical responsibility but a
financial commitment in perpetuity.
Seen in this light, we might conclude that museums are absurd
undertakings and historical anomalies left over from an earlier time.
After all, is impossible to arrest the decay or change that all objects
inevitably experience with age. On the other hand, if so many
societies have been prepared to invest such enormous resources
in preserving all these things for the future, then this does suggest
that those objects, and the institutions in which they live, have
been and continue to be incredibly important to humans in many
places and over many generations. So, for this reason, if nothing
else, they deserve serious attention. We have to ask ourselves, why
have so many societies decided that it is worth sacrificing so much
of their collective resources in order to keep and to show objects
to each other? What is it about these institutions and their prac-
tices of collecting, preserving and interpreting that makes so many
societies convinced that they are an essential part of our collective
public life?
 INTRODUCTION 3

WHAT THIS BOOK WILL DO

This book explores these fundamental questions by providing an
introductory overview of the field of museum and gallery studies,
and establishing some of the key debates and parameters of this fas-
cinating and interdisciplinary field of study. We will also look at
policy and practice in museum and gallery work. The term ‘museum
and gallery studies’ refers to the formal academic examination of
just about any aspect of what museums and galleries are and do. It
encompasses the study of the institutions themselves and how they
operate. Just as museums and galleries themselves encompass many
different academic disciplines from art history, natural sciences,
human history, ethnography, geology, to archaeology, so museum
and gallery studies also draw on many different intellectual currents,
traditions and debates.
In this respect, this book is taking on a very difficult challenge.
Let us be clear; there is no one standard kind of museum or gallery
because they come in such different shapes and sizes and all with
their own histories, logics and peculiarities. Even the briefest look at
what cities and countries hold in trust will reveal a dazzling diversity
of archaeological and anthropological artefacts; fine art, paintings,
photographs, sculptures; decorative arts and designs; natural history,
materials from the natural sciences; and artefacts that relate to social
history, history and ‘culture’ in the wider sense of that word. We
absolutely recognise the tremendous diversity of the collections held
by museums and galleries and the disciplines to which they relate.
So, we are not attempting to write the definite, singular account
of museums and galleries worldwide. It cannot be done, and it is
their individuality which makes them so interesting. What we are
attempting to do in this book is to provide an insight into the kinds
of issues, challenges and features which many museums and galleries
will have in common and to provide a framework for thinking about
these institutions in all their many forms.
In recognition of the potentially enormous scope of our topic, we
have decided to place particular emphasis on how public museums
and galleries tell stories of human history, and of histories of art. This
decision is partly because these are our specialisms but also because
this allows us to look at many of the areas where there have been
4 INTRODUCTION

debates and controversies in recent museum and gallery studies. We

have adopted an international approach while recognising that our
knowledge is most extensive of the Anglophone literature on muse-
ums and galleries. While the parameters we have adopted mean that
we will inevitably not cover all possible ways of looking at the field
of museum and gallery studies, many of the principles and issues we
discuss are also applicable to other disciplines, other collections, or
different institutions to those examples given here.

WHO IS THIS BOOK FOR?

Put simply, this book is for anyone interested in the questions posed
above and anyone who has visited a museum or art gallery and wanted
to know about what they do, how they work and why they exist. If
you have never visited a museum or a gallery, we hope this book will
inspire you to discover them for yourselves and think about them in
a new way. Our book is also for those people who have wondered
what it might be like to work in museums and galleries. Our book
is not a training manual – those already exist – but it will provide an
insight into the kind of activities that make up ‘museum and gallery-
work’, and the challenges and pleasures involved. Crucially, we will
consider why this work matters to societies in the present day, but
also why it has mattered in the past, and why it will – we firmly
believe – continue to matter for the future generations yet to come.
At the end of each chapter we have provided suggestions for
further reading. In many cases, these suggestions are edited books
which contain many articles by different scholars. These kinds of
publications are an excellent next step into developing your under-
standing of museum and gallery studies because they offer a range of
perspectives from different countries and because the introductory
section will typically provide an overview of key issues and authors
in that particular topic. We recommend to always begin with the
introductory overview to build up a sense of the parameters and
most important debates in the ‘field’ of study. This broad overview
can then be developed by pursuing particular areas of interest in
more depth. At the back of the book you will find all the references
and weblinks for each chapter. These also provide further sources
to explore.
 INTRODUCTION 5

WHAT ARE MUSEUM AND GALLERY STUDIES?

Museum and gallery studies look at all the different ways we can
understand museums and galleries. These range from their day-to-
day business to the symbolic roles they play in, and for, societies.
One crucial fact is that it is an interdisciplinary field which draws
on ideas from other academic areas. This is because it is a relatively
new field compared to some fields of academic enquiry. It is also
because as a domain of academic study, it is expanding rapidly,
internationally. This is, in part, because many more academics from
a wide range of disciplines are becoming interested in museums and
galleries and what they represent and do. It is also because of the
extraordinary expansion of high-profile museums and art galleries
world-wide in recent years, particularly since the 1980s. Another
reason for the proliferation of museum and gallery studies courses
and publications comes from the variety of institutions they encom-
pass, as we have already suggested. Museums and galleries can range
from so-called ‘universal’ museums like the Louvre and British
Museum (Figure 0.1) through to idiosyncratic, personal collections

Figure 0.1 The Great Court, British Museum, London.

¤ The Trustees of the British Museum.
6 INTRODUCTION

and brand-new collections. Scholars’ approaches are diverse, in

part, because of the sheer diversity of subjects they are discussing.
The field of study therefore encompasses topics such as visi-
tors’ types of behaviour: how visitors move through exhibit spaces,
what attracts their attention and ignites curiosity. It also includes
how nations’ galleries build or cement public expressions of national
identity, how they are part of political processes of ‘state formation’,
and how they actually create rather than merely attract a ‘public’.
Scholars study museums and galleries in terms of how they function
in the present, as well as what roles they served in the past.
Terminology is important: we define fields in academic life
through processes of what gets called ‘naming and framing’, as we
will explore. The precise names given to this field of study are differ-
ent in different countries, in part as they draw on varying traditions
of thought. ‘Museum and gallery studies’ is an Anglophone term
that encompasses both ‘academic theory’ and ‘practice’ (what profes-
sionals do every day), although we argue that they should be seen as
inseparable. Museum and gallery studies are taught and researched
in universities but museums and galleries equally produce, share and
authorise new knowledge through their collecting, displays, research
and publishing activities. Academic study, curating and indeed man-
agerial administration all require reflective thought and new ideas
about why museums and galleries exist, who they are for, as well as
how they should be run.

MUSEUM AND GALLERY STUDIES AROUND

THE WORLD
In French-speaking countries and other Western European coun-
tries like Italy, a distinction is often made between the two terms
‘museology’ and ‘museography’ that suggests a difference between
practical and theoretical study. Museography usually refers to the
“practical or applied aspect of museology”, meaning exhibition
design, conservation, and collections management amongst other
areas (Desvallées and Mairesse 2010: 52). To complicate matters,
Desvallées and Mairesse note that in Central and Eastern Europe,
what French speakers call ‘museography’ would be referred to as
‘applied museology’ or what English speakers would describe as
 INTRODUCTION 7

“museum practice” (2010: 52). From an international perspective,

they argue that ‘museology’ or ‘museum studies’ can take at least
five definitions. We share their preference for the most expansive
of these, which they explain as comprising “all the efforts at theo-
risation and critical thinking about the museal field” in their total-
ity (2010: 56). What has become called ‘new museology’ since the
1970s is an important, distinct development in the discipline which
we deal with below (see Chapter 1).
There are some further differentials. ‘Museum studies’ is now
well established as an academic discipline and in several countries
(e.g. UK, US, Sweden, Australia, New Zealand) there are univer-
sity departments which specialise in it. ‘Gallery studies’, though, are
less common and more often untaken inside university departments
for art history, fine art, museum studies, visual culture, or cultural
studies, rather than existing separately. Here we need to give some
clarification. When we use the term ‘gallery’, here we mean public
art galleries and art museums, as well as exhibition spaces or cen-
tres which specialise in temporary exhibitions rather than holding
permanent collections or displays. This understanding of the term
‘gallery’ is standard in the UK but does not translate into other lan-
guages or cultures, as we discuss below. Ordinarily, gallery studies
do not focus upon commercial galleries, even though in practice the
commercial art market and public galleries cannot be separated. In
the Anglophone literature, gallery studies has often discussed issues
like the ways public galleries help create systems of value, in cultural
and financial terms.
‘Heritage studies’ is an adjacent, overlapping field of study to
‘museum and gallery studies’. While it is essential to understanding
the relationships between museum and gallery studies, on one hand,
and heritage studies on the other, this book will not attempt to cover
heritage studies for reasons which will become clear in Chapter 1.
In the context of British universities, ‘museum and gallery
studies’ usually refers to an academic discipline that is pursued at
postgraduate rather than undergraduate level, after the completion
of a first degree in a subject like archaeology, history or art (fine
art practice or art history). Many of these postgraduate programmes
can be described as quasi-vocational, in the sense that they are
undertaken by students as a stepping-stone towards a career in a
8 INTRODUCTION

museum or gallery, or in academic research. Many museum and

gallery studies departments effectively therefore have two roles or
allegiances. One is to the academic and critical study of institutions
and their practices. The second is to ensuring students become
aware of what practical and everyday kinds of knowledge are
needed to work in museums successfully even though these can,
and must, be ‘theorised’ in various ways. Just as ‘theory’ and ‘prac-
tice’ are intertwined, these programmes are often both intellectual
and vocational, providing a route by which museum and gallery
professionals of the future are equipped, both practically and theo-
retically, to undertake particular jobs.
However, such programmes of study are not the only route by
which professionals enter the sector. Many will begin their academic
and working lives by studying disciplines such as art history, history,
the natural sciences, archaeology and ethnography and enter the
profession without a museum studies or gallery studies background,
learning their craft on the job. It has long been the case, however,
that in Europe, and in Britain especially, work in museums and gal-
leries is often paid far less than other graduate-level professions, and
this is a significant structural factor limiting the diversity of people
who go into museum professions. In countries like the UK, there
is a long-standing and important debate about the routes by which
people can access the museum and galley profession, and indeed,
the barriers which many face. In response some organisations have
offered traineeships and apprenticeships to attract under-represented
groups, particularly from ethnic minority backgrounds. Universities
have similarly been involved in such initiatives. To find out more,
look for debates about entry into the profession on the UK’s Museum
Association website.

‘THEORY’ AND ‘PRACTICE’?

As suggested above, it is our view that the terms ‘theory’ and
‘practice’ can be misleading because one cannot be separated from
the other. The process of studying makes us aware that what we
imagine is ‘natural’, ‘normal’ or ‘obvious’ is seldom that, and that
those things that seem simply ‘right’ or ‘good practice’ can be put
under question or amended. We also suggest that there is a false
 INTRODUCTION 9

opposition between activities that are basically intellectual and

those that are practical. The ‘materials’ that museum and gallery
professionals work with, just like academics, artists, historians and
archaeologists, include ideas, artefacts and codes of professional
practice. Ideas that often get described as ‘theoretical’ are crucial
to museum studies and work, and inform our understanding of
how museums function. Understanding different ideas is essential
in thinking through what professional practice is for, and what it
is built upon.
We need to reiterate that there is not a single body of ‘museum
theory’ even though particular texts have sustained scholars’ inter-
est and provided key turning points in creating new areas of debate.
Museum and gallery studies are interesting to us precisely because
we have to draw upon ideas from different areas – and unite them.
Such work draws on ideas and writings in multiple fields including
cultural studies, philosophy, art history, archaeology, tourism and
leisure studies, economics, anthropology, ethnography, sociology
and linguistics. This is a challenge, and has many pitfalls to avoid.
But if we genuinely want to conceptualise the roles that museums
and galleries play in public life, we need to ask several complex ques-
tions, and these often necessarily relate to other areas. For example,
in order to think about museums and galleries as ‘public’ institutions
we need to refer to political theorists’ competing ideas of what ‘the
public sphere’ is and does. We need to know how this concept
differs from merely ‘public space’. We need to know why some
scholars consider museums as part of an ‘ideological state apparatus’
which conditions citizens, aligns them into a system of belief, and
impresses upon them the power of the state. Most people begin by
thinking that museums and galleries are intrinsically ‘good’, what-
ever they do, or however they do it. Often enough these institutions
are imagined to have an intrinsic moral good inbuilt in them, as they
uphold the values of ‘great art’ or even ‘civilisation’, but our job is to
ask how we arrived at these value judgements and think about why
this might be the case. It is important to take a position ourselves and
decide how autonomous museums are, or can be, from wider gov-
erning ideologies. Here, as throughout this book, we draw attention
to where ideas have been problematised or debated by placing them
inside inverted commas.
10 INTRODUCTION

WHY STUDY MUSEUMS AND GALLERIES?

There are many reasons to study museums and galleries. As Donald
Preziosi (1998) has argued, museums not only disseminate but pro-
duce ‘knowledge’. In many instances, national museums have some-
thing like a monopoly in their field in their own territory. They
provide the official public account of one area or history. This lends
them a special public authority and prestige, and despite the mass
availability of ‘information’, digital images and every kind of diver-
sion or entertainment, museums and galleries are more visited than
ever (see Tables 0.1 and 0.2). This is particularly true of the world’s
major cities. For example, ALVA, the Association of Leading Visitor
Attractions in the UK reported that 65,218,272 people visited
attractions in London in 2015, an increase of 7.5% on the previous
year, and that all of the UK’s top 10 most visited attractions were in
London (ALVA 2015).
It is not simply the numbers of visitors which make these institu-
tions significant as an object of study, but also what we can call the
visiting patterns that become visible on analysis. Also important are
the institutional responses to such patterns. When Tate Modern in
London (Figure 0.2) staged an exhibition of the work of the art-
ist Henri Matisse in 2014, it was seen by 3,907 visitors per day:
half a million visitors in just five months. Following its showing in
London, it toured to the Museum of Modern Art in New York,
where more than another half a million visitors saw it (Miller 2015).
The exhibition was extended due to excessive demand (Tate 2014).
What is particularly striking is that demand for the Tate exhibition
was sufficiently strong that the exhibition was kept open through the

Table 0.1 Visitor figures for London’s top four most visited museums

Institution Location Visitors in 2015

British Museum London 6.8 million

National Gallery London 5.9 million
Natural History Museum London 5.3 million
Tate Modern London 4.7 million

Source: ALVA (2016).

 INTRODUCTION 11

Table 0.2 Most visited art galleries in the world in 2015

Institution Location Visitors in

2015

Louvrea Paris 8.6 million

British Museum London 6.8 million
Metropolitan Museum of Art New York 6.5 million
Vatican City Vatican City 6.0 million
National Gallery London 5.9 million
National Palace Museum Taipei 5.2 million
Tate Modern London 4.7 million
National Gallery of Art Washington, DC 4.0 million
State Hermitage Museum St Petersburg 3.6 million
Musée d’Orsay Paris 3.4 million

Source: Art Newspaper (2016).

Note:
a It should be noted that the Louvre’s visitor figures fell in 2015. In 2014, a total of
9.2 million people visited it. This drop in international tourist numbers has been
attributed to the terrorist attacks in Paris during 2015.

night on the last weekend to provide non-stop entry over thirty-six

hours. Are there other institutions that could possibly attract such
devotion in this way? This night-time ‘special’ opening has been
repeated with other exhibitions. Perhaps even more unusual is the
subsequent tour of the exhibition broadcast to over 200 UK cinemas
named Matisse Live and seen by 15,000 cinema-goers (initially). This
number continues to grow as the broadcast is shown again. We have
chosen this example because the patterns of visiting and experienc-
ing museums and galleries is changing. The museum is becoming
a “transmedia” institution working on different media “platforms”
of which the gallery space is only one (Kidd 2014). As this example
demonstrates, high numbers of visitors to museums and art galler-
ies has become a recognisable, international phenomenon in many
societies. Why?
The boom in people visiting museums and galleries can be linked
to broader demographic trends, like the growth of a middle-class in
many countries keen to consume cultural tourism. It has been argued
that ‘post-industrial’ economies are characterised by such factors as
12 INTRODUCTION

Figure 0.2 Tate Modern, Bankside, London.

¤ Tate, London 2017.

a rise in tourism, by widespread access to higher education, and by

rising disposable incomes, although this might also be said – at least
for some sections of the society – to be true for rapidly industrialising
countries, like China. In both contexts, we can argue that museums
have become ‘beacons’ for civic and national governments to attract
international tourists and inward investment. As such, they have
become understood as means by which cities and governments can
‘regenerate’ areas. For example, the term ‘the Bilbao effect’ became
popular around 2000 to describe how a museum, in this instance the
Guggenheim Bilbao, has been used to ‘rebrand’ an entire city rather
 INTRODUCTION 13

than just one part of it (Plaza 2006). At the same time, there are critics
who point to the limits of culture-led regeneration approaches and
argue that the effect is too limited and often result primarily in low-
paid, job creation in the hospitality sector rather than providing an
industrial strategy which can benefit a wider-cross section of the econ-
omy and population. As this demonstrates, the study of museums and
galleries can provide insight into wider changes and trends in societies.
By looking closely at museums and galleries in different inter-
national contexts we can also find out about how states and
governments understand and deploy culture to achieve various poli-
tics goals, both internal and external. In rapidly growing economies
like China, there is not only a drive to create museums and galleries
for emerging international and domestic tourist markets but also to
assert cultural, political and economic power. Vickers, for example,
noted in 2007 that the Chinese government planned to build 3,000
new museums, whether to encourage tourism, to attract investment,
or for “training in patriotic education” (Zhao cited in Vickers 2007:
369). This target has already been exceeded (see Chapter 4). As well
as providing patriotic education for their citizens, the governments
in countries like China also see museums and galleries as valuable
players in international relations and cultural diplomacy.

CULTURE AS ‘SOFT POWER’

The use of museums and galleries as a form of what has been called
‘soft power’ in international relations is both widespread and long-
standing. Joseph Nye defines ‘soft power’ as: “the ability to get what
you want through attraction rather than coercion and payments. It
arises from the attractiveness of a country’s culture, political ideals
and policies” (Nye, 2004: x). Indeed, we can say that national self-
promotion has been a central reason in the establishment of such
institutions from the very outset. Not only do museums and gal-
leries serve as ambassadors for their nations by promoting them to
other countries, they also provide unifying symbols for nations at
home, particularly after or as part of a struggle towards political inde-
pendence. In Eastern Europe, for example, countries like Estonia
and Poland have sought to re-establish their own distinct national
cultural identities after the dissolution of the Soviet Union in 1991
14 INTRODUCTION

through new national museum projects. Similarly, in Scotland, a new

national museum was opened in Edinburgh in 1998 at the same time
that political devolution was taking place and a newly independent
Scottish Parliament was being established. In Spain, the Museum of
the History of Catalonia in Barcelona (est. 1996) is similarly strongly
associated with Catalonia’s claims to cultural and political independ-
ence. In Taiwan a new National Museum of Taiwan History opened
in the city of Tainan in 2011 with a specific focus on the history and
culture of Taiwan as distinct from China. This is significant given that
the political autonomy and separateness of Taiwan continues to be
contested by the Chinese government. In all of these situations, what is
at stake is the story of who the people ‘are’ and their claim – accepted
or reputed – to political independence and cultural distinctiveness.
Each of these museums is inevitably charged with great political sig-
nificance, whether or not its staff or visitors might want it to be.
As we can see here, the importance that museums and galleries
have in promoting a nation, a people or a city on an international
stage can scarcely be overstated. ‘Culture’, in this sense, is about
symbols. A national museum or gallery is a large, expensive and per-
manent symbol of a city or nation’s place in the world, its self-image,
its aspirations or its sheer power. This is a global phenomenon.
Whereas many of the traditional, famous museums and galleries are
to be found in European countries, some of the most recent invest-
ments in such symbolic projects can be seen in the Persian Gulf. The
United Arab Emirates (UAE), for example, are investing very large
sums of money in new national museums and art galleries, some-
times employing Western architects to create ‘signature’ buildings
whose adventurous or unorthodox designs are intended to be pho-
togenic, and so seen in reproduction around the world. The aim is
for the UAE to become an international destination for a particularly
wealthy class of cultural tourist. The Louvre Abu Dhabi is another
high-profile example; it is part of an ‘island’ of museums where a
new national history museum, maritime museum, performing arts
centre and biennale park will all be built. Similarly, Sharjah in the
UAE opened its own Museum of Islamic Civilisation in 2008. It is
completing a new national art gallery, and has launched the Sharjah
Biennial, an international art exhibition. Qatar has employed French
architect Jean Nouvel to remodel its national museum, and in 2008
opened a brand new Museum of Islamic Art in Doha.
 INTRODUCTION 15

Such enterprises are vastly expensive (see Chapter 4) and they

clearly indicate the value political leaders continue to place upon
museums’ symbolic and ‘ambassadorial’ roles as well as their edu-
cational and economic ones. At the same time, we need to remember
that museums come in many sizes and have diverse functions. In the
UK, for example, independent and community-run museums operate
alongside those receiving large-scale public subsidies. In the UK, there
are over 2,500 museums and galleries, the vast majority of which are
small-scale. In reality, a tiny number attract a disproportionate amount
of press coverage, and often resources (Museums Association 2014).

CONCLUSION
Public museums and galleries have been created, generation after
generation, for diverse reasons. The reasons for their existence, or
their success, have often changed, or been reattributed, over time.
Common to them, however, is the belief that museums and galleries
are an important carrier of a society or group’s collective memory,
and that they are crucial to advancing our understanding of our-
selves, others and the world around us. Because they address funda-
mental questions about who we are or who others think we are, the
political motivations attached to museums and galleries are crucial
to understand. We all have a stake in how societies represent us or
‘others’ (as we will discuss in the next chapter), our histories and our
collective achievements. We also have a stake in whether museums
narrate these histories ‘in the round’ and account for the parts of
our history we cannot be proud of, or the ideas our predecessors
believed which we no longer subscribe to. Given the importance
accorded to these institutions in societies and the strength of recent
interest in museums and galleries from politicians and publics alike,
they are essential topics of study in making sense of who we have
become, and the ways in which the world is ordered.

REFERENCES
Kidd, J. (2014) Museums in the New Mediascape: Transmedia, Participation, Ethics.
Farnham: Ashgate.
Nye, J. (2004) Soft Power: The Means to Success in World Politics. New York:
Public Affairs / Perseus Books Group.
16 INTRODUCTION

Plaza, B. (2006) ‘The return on investment of the Guggenheim Museum

Bilbao’. International Journal of Urban and Regional Research 30(2): 452–467.
Preziosi, D. (1998) The Art of Art History: A Critical Anthology. Oxford: Oxford
University Press.
Vickers, E. (2007) ‘Museums and nationalism in contemporary China.’ Compare:
A Journal of Comparative Education 37(3): 365–382.

WEBSITES

Art Newspaper (2016) ‘Visitor figures 2015: Jeff Koons is the toast of Paris and
Bilbao’. The Art Newspaper: Special Reports 31 March. URL: http://theart
newspaper.com/reports/jeff-koons-is-the-toast-of-paris-and-bilbao/
Association of Leading Visitor Attractions (ALVA) (2015) ‘Visits made in 2015
to visitor attractions in membership with ALVA’. URL: http://www.alva.
org.uk/details.cfm?p=606
Desvallées, A. and F. Mairesse (eds) (2010) Key Concepts in Museology. International
Council of Museums. URL: http://icom.museum/fileadmin/user_upload/
pdf/Key_Concepts_of_Museology/Museologie_Anglais_BD.pdf
Miller, M.H. (2015) ‘Half a million people have seen MoMA’s Matisse cut-outs
show’. Art News 7 January. URL: http://www.artnews.com/2015/01/07/
half-a-million-people-have-seen-momas-matisse-cut-outs-show/
Museums Association (2014) ‘Frequently asked questions’. URL: http://www.
museumsassociation.org/about/frequently-asked-questions
Tate (2014) ‘Matisse is Tate’s most successful exhibition ever’. URL: http://
www.tate.org.uk/about/press-office/press-releases/matisse-tates-most-
successful-exhibition-ever

FURTHER READING
Carbonell, B.M. (2012) Museum Studies: An Anthology of Contexts, Second
Edition. Malden, MA and Oxford: Wiley-Blackwell.
Corsane, G. (ed.) (2005) Heritage, Museums and Galleries: An Introductory Reader.
London and New York: Routledge.
Knell, S., J. MacLeod and S. Watson (eds) (2007) Museum Revolutions: How
Museums Change and Are Changed. London and New York: Routledge.
Macdonald, S. (2011) A Companion to Museum Studies. Chichester: Blackwell.
McClellan, A. (2003) Art and Its Publics: Museum Studies at the Millennium.
Malden, MA and Oxford: Blackwell.
Introduction
Kidd, J. (2014) Museums in the New Mediascape: Transmedia, Participation,
Ethics. Farnham: Ashgate.
Nye, J. (2004) Soft Power: The Means to Success in World Politics. New
York: Public Affairs / Perseus Books Group.
Plaza, B. (2006) ‘The return on investment of the Guggenheim Museum
Bilbao’. International Journal of Urban and Regional Research 30(2):
452–467.
Preziosi, D. (1998) The Art of Art History: A Critical Anthology. Oxford:
Oxford University Press.
Vickers, E. (2007) ‘Museums and nationalism in contemporary China.’
Compare: A Journal of Comparative Education 37(3): 365–382.
Art Newspaper (2016) ‘Visitor figures 2015: Jeff Koons is the toast of Paris
and Bilbao’. The Art Newspaper: Special Reports 31 March. URL:
http://theartnewspaper.com/reports/jeff-koons-is-the-toast-of-paris-and-
bilbao/
Association of Leading Visitor Attractions (ALVA) (2015) ‘Visits made in
2015 to visitor attractions in membership with ALVA’. URL:
http://www.alva.org.uk/details.cfm?p=606
Desvallées, A. and F. Mairesse (eds) (2010) Key Concepts in Museology.
International Council of Museums. URL:
http://icom.museum/fileadmin/user_upload/pdf/Key_Concepts_of_Museolog
y/Museologie_Anglais_BD.pdf
Miller, M.H. (2015) ‘Half a million people have seen MoMA’s Matisse cut-
outs show’. Art News 7 January. URL:
http://www.artnews.com/2015/01/07/half-a-million-people-have-seen-
momas-matisse-cut-outs-show/
Museums Association (2014) ‘Frequently asked questions’. URL:
http://www.museumsassociation.org/about/frequently-asked-questions
Tate (2014) ‘Matisse is Tate’s most successful exhibition ever’. URL:
http://www.tate.org.uk/about/press-office/press-releases/matisse-tates-most-
successful-exhibition-ever
Carbonell, B.M. (2012) Museum Studies: An Anthology of Contexts, Second
Edition. Malden, MA and Oxford: Wiley-Blackwell.
Corsane, G. (ed.) (2005) Heritage, Museums and Galleries: An Introductory
Reader. London and New York: Routledge.
Knell, S. , J. MacLeod and S. Watson (eds) (2007) Museum Revolutions:
How Museums Change and Are Changed. London and New York:
Routledge.
Macdonald, S. (2011) A Companion to Museum Studies. Chichester:
Blackwell.
McClellan, A. (2003) Art and Its Publics: Museum Studies at the Millennium.
Malden, MA and Oxford: Blackwell.
First principles
Ambrose, T. and C. Paine (2012) Museum Basics. 3rd edition. London:
Routledge.
Benjamin, W. (1999) ‘Theses on the philosophy of history’, in Illuminations,
trans. H. Zorn . London: Pimlico, 245–255 (first published 1968).
Bennett, T. (1995) The Birth of the Museum. London and New York:
Routledge.
Boylan, P. (ed.) (1992). Museums 2000: Politics, People, Professionals and
Profit. London: Routledge.
Crow, T. (1985) Painters and Public Life in Eighteenth Century Paris. New
Haven, CT and London: Yale University Press.
Cuno, J. (ed.) (2012) Whose Culture? The Promise of Museums and the
Debate over Antiquities. Princeton, NJ: Princeton University Press.
Davis, P. (1999) Ecomuseums: A Sense of Place. Leicester: Leicester
University Press.
Duncan, C. (1995) Civilising Rituals: Inside Public Art Museums. London and
New York: Routledge.
Hewison, R. (1987) The Heritage Industry: Britain in a Climate of Decline.
London: Methuen.
Hooper-Greenhill, E. (1992) Museums and the Shaping of Knowledge.
London and New York: Routledge.
Hudson, K. (1998) ‘The museum refuses to stand still’. Museum International
(Paris: UNESCO), 50(1): 43–50.
Karega-Munene (2011) ‘Museums in Kenya: Spaces for selecting, ordering
and erasing memories of identity and nationhood’. African Studies,70(2):
224–245.
Kockel, U. and M.N. Craith (eds) (2007) Cultural Heritages as Reflexive
Traditions. Basingstoke: Palgrave Macmillan.
MacKenzie, J.M. (2009) Museums and Empire: Natural History, Human
Cultures and Colonial Identities. Manchester: Manchester University Press.
Marstine, J. (ed.) (2005) New Museum Theory and Practice: An Introduction.
Malden, MA and Oxford: Blackwell.
Mason, R. (2007) Museums, Nations, Identities: Wales and Its National
Museums. Cardiff: University of Wales Press.
Office of the Federal Register (US) (ed.) (2011) ‘Definition of a museum’.
Code of Federal Regulations, Title 45, Public Welfare, PT. 5000–1199.
Washington, DC: US Superintendent of Documents, 493–494.
Onciul, B.A. (2015) Museums, Heritage and Indigenous Voice Decolonizing
Engagement. London and New York: Routledge.
Rosenzweig, R. and D. Thelen (1998) The Presence of the Past. New York:
Columbia University Press.
Sandell, R. and E. Nightingale (2012) Museums, Equality and Social Justice.
London and New York: Routledge.
Scott, C. (ed.) (2013) Museums and Public Value: Creating Sustainable
Futures. Farnham: Ashgate.
Seixas, P. (2004) Theorizing Historical Consciousness. Toronto and London:
University of Toronto Press.
Shelton, A. (2011) ‘Museums and anthropologies: Practices and narratives’,
in S. Macdonald (ed.), A Companion to Museum Studies. Oxford: Blackwell
64–80, (first pub. 2006).
Shelton, A. (2013) ‘Critical museology: A manifesto’. Museum Worlds:
Advances in Research, 1: 7–23.
Thomas, N. (2016) The Return of Curiosity: What Museums Are Good for in
the 21st Century. London: Reaktion Books.
Vergo, P. (1989) The New Museology. London: Reaktion Books.
Weil, S.E. (1999) ‘From being about something to being for somebody: The
ongoing transformation of the American museum’. Daedalus, 128(3):
229–258.
Australian Government Department of the Environment (2001) ‘State of the
Environment Report 2001’. URL:
http://www.environment.gov.au/science/soe
British Museum (2016) ‘History of the British Museum’. URL:
https://www.britishmuseum.org/about_us/the_museums_story/general_histor
y.aspx
Deutsche Welle (2016) ‘Over a 1,000 skulls from Germany’s colonies still
sitting in Berlin’. URL: http://www.dw.com/en/over-1000-skulls-from-
germanys-colonies-still-sitting-in-berlin/a-36488751
Fishman, M. (2014) ‘Delaware Art Museum loses accreditation’. The News
Journal 19 June. URL:
http://www.delawareonline.com/story/life/2014/06/18/museum-directors-
sanction-delaware-art-museum/10757111/
German Museums Association (2017a) URL:
http://www.museumsbund.de/wp-content/uploads/2017/03/dmb-satzung-
2016.pdf
German Museums Association (2017b) URL:
http://www.museumsbund.de/themen/das-museum/
Historic England (2017) ‘What is listing?’. URL:
https://historicengland.org.uk/listing/what-is-designation/
International Movement for a New Museology (MINOM) (2014) ‘About us’.
URL: http://www.minom-icom.net/about-us
Japanese Association of Museums (2008) ‘Present status of museums in
Japan’. URL:
http://www.mext.go.jp/component/a_menu/education/detail/__icsFiles/afieldfi
le/2012/03/27/1312941_1.pdf
Museums Association (2013) ‘What the public thinks’. URL:
http://www.museumsassociation.org/museums2020/11122012-what-the-
public-thinks
Museums Association (2016) ‘FAQs’. URL:
http://www.museumsassociation.org/about/frequently-asked-
questions#.U6qa65RdXTo
Museums Australia (1998) ‘What is a museum?’. URL:
http://www.museumsaustralia.org.au/site/about_museums.php
Museums Australia (2002) ‘Constitution’. URL:
https://www.museumsaustralia.org.au/membership/organisation
National Park Service, US Department of the Interior (2016) ‘Native
American Graves Protection and Repatriation Act [NAGPRA]: Law,
regulations, and guidance’. URL:
http://www.nps.gov/nagpra/MANDATES/INDEX.HTM
Rockbund Museum of Contemporary Art (2016) ‘About: Mission’. URL:
http://www.rockbundartmuseum.org/en/page/detail/474cr
Sheriff, A. (2014) ‘Symbolic restitution: Post-Apartheid changes to the South
African heritage sector. 1994–2012.’ Electronic Journal of Africana
Bibliography. URL: http://ir.uiowa.edu.cgo/viewcontent.cgi?article-
1019&context_ejab
South African Museums Association (SAMA) (2013) ‘Constitution’. URL:
http://sama.za.net/home-page/samab-journal/
United Nations Educational, Social and Cultural Organization (UNESCO)
(2003) ‘Convention for the Safeguarding of the Intangible Cultural Heritage
2003’. URL: http://portal.unesco.org/en/ev.php-
URL_ID=17716&URL_DO=DO_TOPIC&URL_SECTION=201.html#RESER
VES
United Nations Educational, Social and Cultural Organization (UNESCO)
(2012) ‘Definition of intangible heritage’. URL:
http://www.unesco.org/services/documentation/archives/multimedia/?id_pag
e=13&PHPSESSID=99724b4d60dc8523d54275ad8d077092
Altshuler, B. (2008). Salon to Biennial: Exhibitions that Made Art History,
Volume 1: 1863–1959. New York and London: Phaidon.
Aronsson, P. and G. Elgenius (eds) (2015). National Museums and Nation-
Building in Europe 1750–2010: Mobilization and Legitimacy, Continuity and
Change. London and New York: Routledge.
Barker, E. (1999) Contemporary Cultures of Display. New Haven, CT and
London: Yale University Press.
Bennett, T. (1995) The Birth of the Museum. London and New York:
Routledge.
McClellan, A. (2008) The Art Museum from Boullēe to Bilbao. Berkeley, CA:
University of California Press.
Stefano, M. L. and P. Davis (2017) The Routledge Companion to Intangible
Cultural Heritage. London and New York: Routledge.
Witcomb, A. (2003) Reimagining the Museum: Beyond the Mausoleum.
London and New York: Routledge.
Collecting and collections
Appadurai, A. (1986) ‘Introduction: Commodities and the politics of value’, in
A. Appadurai (ed.) The Social Life of Things: Commodities in Cultural
Perspective. Cambridge: Cambridge University Press.
Falk, J. and L. Dierking (2016) The Museum Experience. London and New
York: Routledge (first edition 1992).
Graham, B. and S. Cook (2010) Rethinking Curating. Cambridge, MA: MIT
Press.
Harvey, D. (1990) ‘Time–space compression and the post-modern
condition’, in The Condition of Postmodernity. Oxford and Cambridge, MA:
Basil Blackwell.
Hirsch, F. (1976) The Social Limits to Growth. Cambridge, MA: Harvard
University Press. (New edition 1995, London: Routledge and Kegan Paul.)
Knell, S. (2004) Museums and the Future of Collecting. Farnham: Ashgate.
Krauss, R. (1999) A Voyage on the North Sea: Art in the Age of the Post-
Medium Condition. London: Thames & Hudson.
Latour, B. (2005) ‘From Realpolitik to Dingpolitik or how to make things
public’, in B. Latour and P. Weibel (eds) Making Things Public: Atmospheres
of Democracy. Karlsruhe: ZKM Centre for Art and Media.
McClellan, A. (2008) The Art Museum from Boullēe to Bilbao. Berkeley, CA:
University of California Press.
Miller, D. (2010) Stuff. Cambridge: Polity Press.
Osborne, P. (2013) Anywhere or Not at All: Philosophy of Contemporary Art.
London: Verso.
Schubert, K. (2000) The Curator’s Egg. London: One-Off Press.
Thompson, M. (1979) Rubbish Theory: The Creation and Destruction of
Value. Oxford: Oxford University Press.
Thompson, J.M.A. (ed.) (1992) Manual of Curatorship: A Guide to Museum
Practice. Oxford and Boston: Butterworth-Heinemann.
White, D.E. (2013) From Little London to Little Bengal: Religion, Print and
Modernity in Early British India. Baltimore, MD: John Hopkins University
Press.
bmorenews (2016) ‘National Museum of African American History and
Culture: Dedication and Grand Opening Saturday, September 24 2016’. 18
June. URL: http://www.bmorenews.com/home/2016/06/18/national-museum-
of-african-american-history-and-culture-dedication-and-grand-opening-when-
saturday-september-24–2016/?page_number_0=15
Culture24 (2006) ‘22.09.2006 – Bury Museum could lose museum status
after Lowry sale says MA chief’, in News In Brief: Week Ending 24
September. URL: http://www.culture24.org.uk/history-and-heritage/art40533
Department for Culture, Media and Sport (DCMS) (2013) Export of Objects
of Cultural Interest 2012/13. URL: http://www.artscouncil.org.uk/advice-and-
guidance/browse-advice-and-guidance/export-objects-cultural-interest-
report-201213
Etherington, R. (2013) ‘V&A acquires Katy Perry false eyelashes as part of
new “rapid response” collecting strategy’, Dezeen, 18 December. URL:
https://www.dezeen.com/2013/12/18/rapid-response-collecting-victoria-and-
albert-museum-kieran-long/
Givernet Organisation (2016) ‘Giverny Museum of Impressionisms’. URL:
http://giverny.org/museums/impressionism/presentation/
Groys, B. (2009) ‘Comrades of Time’, e-Flux #11, December. URL:
http://www.e-flux.com/journal/11/61345/comrades-of-time/
Hooper, J. (2010) ‘New penis for statue in Silvio Berlusconi’s office’, The
Guardian, 18 November. URL:
https://www.theguardian.com/world/2010/nov/18/fake-penis-statue-silvio-
berlusconi-residence
International Council of Museums (ICOM) (2015) ‘COMCOL: ICOM
International Committee for Collecting’. URL:
http://network.icom.museum/comcol/
Laurenson, P. (2005) ‘The management of display equipment in time-based
media installations’. Tate Papers, Tate website. URL:
http://www.tate.org.uk/download/file/fid/7344.
Moore, R. (2015) ‘Whitworth Art Gallery redesign is a breath of fresh air’.
The Observer, 1 February. URL:
https://www.theguardian.com/artanddesign/2015/feb/01/whitworth-gallery-
manchester-muma-redesign
Museum of Modern Art, New York (2006) ‘Explore the collection: Media and
performance art’. URL: http://www.moma.org/explore/collection/media
Smith, T. (2013) ‘Proposal for a museum: “You can be a museum, or
contemporary…”’, San Francisco Museum of Modern Art Open Space. URL:
http://blog.sfmoma.org/2013/02/proposal-for-a-museum-terry-smith-you-can-
be-a-museum-or-contemporary/
Tate (2011) ‘Tate acquisition and disposal policy’. URL:
http://www.tate.org.uk/download/file/fid/11111
Tate (2012) ‘Acquisitions’. URL: http://www.tate.org.uk/about/our-
work/collection/acquisitions
Te Papa Tongarewa Museum of New Zealand (2015) ‘Our history’. URL:
https://www.tepapa.govt.nz/about/what-we-do/our-history
Dudley, S. , A.J. Barnes , J. Binne , J. Petrov and J. Walklate (eds) (2012)
Narrating Objects, Collecting Stories: Essays in Honour of Professor Susan
M Pearce. London and New York: Routledge.
Graham, B. and S. Cook (2010) Rethinking Curating. Cambridge, MA: MIT
Press.
Knell, S. (ed.) (2016) Museums and the Future of Collecting. London and
New York: Routledge.
Obrist, H.U. (2008) A Brief History of Curating. Zurich and Paris: JRP/Ringier
& Les Presses Du Reel.
O’Neill, P. (2012) The Culture of Curating and the Curating of Culture(s).
Cambridge, MA: MIT.
Pearce, S. . (eds) (2016) The Collector’s Voice: Critical Readings in the
Practice of Collecting, Vols 1–4. London and New York: Routledge.
Smith, T. (2015). Talking Contemporary Curating. New York: Independent
Curators Inc.
Visitors and audiences
Black, G. (2005) The Engaging Museum: Developing Museums for Visitor
Involvement. London and Oxford: Routledge.
Black, G. (2012) Transforming Museums in the Twenty-First Century.
London and Oxford: Routledge.
Bourdieu, P. (1984) Distinction: A Social Critique of the Judgement of Taste.
London: Routledge and Kegan Paul.
Bourdieu, P. , A. Darbel , with D. Schnapper (1991) The Love of Art:
European Art Museums and Their Publics. Cambridge: Polity Press.
Brook, O. (2011) International Comparisons of Public Engagement in Culture
and Sport. DCMS and ESRC. London: Department for Culture, Media and
Sport.
Brook, O. , P. Boyle and R. Flowerdew (2008) Demographic Indicators of
Cultural Consumption. Research Findings: Understanding Population Trends
and Processes. October. UPTAP. ESRC (www.uptap.net).
Chan, T.W. and J. Goldthorpe (2007) ‘Class and status: The conceptual
distinction and its empirical relevance’. American Sociological Review,
72(August): 512–532.
Davison, L. and P. Sibley (2011) ‘Audiences at the “new” museum: Visitor
commitment, diversity and leisure at the Museum of New Zealand Te Papa
Tongarewa’. Visitor Studies, 14(2): 176–194.
Dawson, E. and E. Jensen (2011) ‘Towards a contextual turn in visitor
studies: Evaluating visitor segmentation and identity-related motivations
towards a contextual turn in visitor studies: evaluating visitor segmentation
and identity-related motivations’. Visitor Studies, 14(2): 127–140.
DCMS (2011) Taking Part: The National Survey of Culture, Leisure and
Sport. 2010/11 Statistical Release. London: Department for Culture, Media
and Sport.
DCMS (2016) National Statistics: Taking Part 2015/2016 Quarter 4: Adult
Statistical Release: Key Findings. London: Department for Culture, Media
and Sport.
Dodd, J. and R. Sandell (1998) Building Bridges: Guidance for Museums
and Galleries on Developing New Audiences. London: Museums and
Galleries Commission.
Falk, J. (2009) Identity and the Museum Visitor Experience. Walnut Creek,
CA: Left Coast Press.
Foley, F. and G. McPherson (2000) ‘Museums as leisure’, International
Journal of Heritage Studies, 6(2): 161–174.
Frisch, M. (1990) A Shared Authority: Essays on the Craft and Meaning of
Oral and Public History. Albany, NY: State University of New York Press.
Golding, V. and W. Modest (eds) (2013) Museums and Communities:
Curators, Collections and Collaboration. London: Bloomsbury Academic.
Hutchison, M. (2013) ‘“Shared authority”: Collaboration, curatorial voice, and
exhibition design in Canberra, Australia’, in V. Golding and W. Modest (eds),
Museums and Communities: Curators, Collections and Collaboration.
London: Bloomsbury Academic, 143–162.
Light, D. (2000) ‘An unwanted past: Contemporary tourism and the heritage
of communism in Romania’. International Journal of Heritage Studies, 6(2):
145–160.
Mason, R. , C. Whitehead and H. Graham (2013) ‘One voice to many
voices? Displaying polyvocality in an art gallery’, in V. Golding and W.
Modest (eds), Museums and Communities: Curators, Collections and
Collaboration. London: Bloomsbury Academic, 163–177.
Morris Hargreaves McIntyre (2006) Audience Knowledge Digest: Why
People Visit Museums and Galleries, and What Can Be Done to Attract
Them? Manchester: MHM for Renaissance North East.
Mouffe, C. (ed.) (1992) Dimensions of Radical Democracy: Pluralism,
Citizenship, Community. London: Verso.
Savage, M. , G. Bagnall and B. Longhurst (2005) Globalization and
Belonging. London and Los Angeles: Sage Publications.
Watson, S. (2007) Museums and Their Communities. London and New
York: Routledge.
Arts Council England (2009) Active Lives Survey. URL:
http://www.artscouncil.org.uk/participating-and-attending/active-lives-survey
Arts Council England (2011) Arts Audiences: Insight. URL:
http://www.artscouncil.org.uk/sites/default/files/download-
file/arts_audience_insight_2011.pdf
Arts Council England / The Audience Agency (2016) Culture Based
Segmentation, URL: http://www.artscouncil.org.uk/participating-and-
attending/culture-based-segmentation and at
https://www.theaudienceagency.org/audience-spectrum/profiles
Bounia, A. , A. Nikiforidou , N. Nikonanou and A.D. Matossian (2012) ‘Voices
from the museum: Survey research in Europe’s national museums’,
Linköping University Electronic Press. URL:
http://museumedulab.ece.uth.gr/main/en/node/377
Bunting, C. , T.W. Chan , J. Goldthorpe , E. Keaney and A. Oskala (2008)
From Indifference to Enthusiasm. Arts Council England Report. URL:
http://users.ox.ac.uk/~sfos0006/papers/indifferencetoenthusiasm.pdf
Coffield, F. (2013) Learning Styles: Time to Move On, National College for
School Leadership. URL: https://www.nationalcollege.org.uk/cm-mc-lpd-op-
coffield.pdf
Farrell, B. and M. Medvedeva (2010) Demographic Transformation and the
Future of Museums. The Center for the Future of Museums: an initiative of
the American Association of Museums. Washington, DC: AAM
(http://www.aam-us.org/docs/center-for-the-future-of-
museums/demotransaam2010.pdf)
Kelly, L. (2009) ‘Australian museum visitors: Who visits museums in general
and who visits the Australian museum’. Australian Museum Blog:
http://australianmuseum.net.au/blogpost/museullaneous/australian-museum-
visitors
Lynch, B. (2010) Whose Cake Is It Anyway? A Collaborative Investigation
Into Engagement and Participation in 12 Museums and Galleries in the UK.
London: Paul Hamlyn Foundation. URL: http://ourmuseum.org.uk/wp-
content/uploads/Whose-cake-is-it-anyway-report.pdf
Morris Hargreaves McIntyre (2010) Introducing Culture Segments. URL:
http://mhminsight.com/static/pdfs/culture-segments/en.pdf
Museums Association (MA) (2010) ‘Visitor factsheet’. URL:
http://www.museumsassociation.org/download?id=165106
National Endowment for the Arts (NEA) (2012) ‘National Endowment for the
Arts presents highlights from the 2012 survey of public participation in the
arts’. URL: https://www.arts.gov/news/2013/national-endowment-arts-
presents-highlights-2012-survey-public-participation-arts
National Museum of the American Indian (NMAI) (2005) ‘Smithsonian’s
National Museum of the American Indian Chronology’. URL:
http://nmai.si.edu/sites/1/files/pdf/press_releases/2005-09-
14_nmai_chronology.pdf
National September 11 Memorial and Museum (2016) ‘Make history’.
http://www.911memorial.org/blog/tags/make-history
Obama, M. (2015) ‘Remarks by the First Lady at the opening of the Whitney
Museum’. URL: https://obamawhitehouse.archives.gov/the-press-
office/2015/04/30/remarks-first-lady-opening-whitney-museum
Sandahl, J. (n.d.) ‘Waiting for the public to change?’. URL:
http://www.slks.dk/fileadmin/user_upload/dokumenter/KS/institutioner/musee
r/Indsatsomraader/Brugerundersoegelse/Artikler/Jette_Sandahl_Waiting_for
_the_public_to_change.pdf
Serota, N. (2016) ‘The 21st-century Tate is a commonwealth of ideas’, The
Art Newspaper website 5 January 2016. URL:
http://theartnewspaper.com/comment/the-21st-century-tate-is-a-
commonwealth-of-ideas/
Simon, N. (2010) The Participatory Museum. URL:
http://www.participatorymuseum.org/chapter5/
University of Cambridge (2014) ‘University of Cambridge Museum of
Archaeology and Anthropology access policy statement’. URL:
http://maa.cam.ac.uk/maa/wp-content/uploads/2012/10/MAA-Access-Policy-
Statement.pdf
Van Abbemuseum (2016) ‘Queering the collection’. URL:
http://vanabbemuseum.nl/en/collection-and-context/queering/
Black, G. (2012) Transforming Museums in the Twenty-First Century.
London and Oxford: Routledge.
Bourdieu, P. (1993) Sociology in Question. London: Sage.
Golding, V. and W. Modest (eds) (2013) Museums and Communities:
Curators, Collections and Collaboration. London and New York: Bloomsbury.
Hooper-Greenhill, E. (2011) Studying Visitors. In S. Macdonald (ed.), A
Companion to Museum Studies. Chichester: Blackwell, 362–376.
Karp, I. , C.M. Kreamer and S. Lavine (eds) (1992) Museums and
Communities: The Politics of Public Culture. AAM: Smithsonian Institution.
Leahy, H. Rees (2012) Museum Bodies: The Politics and Practices of
Visiting and Viewing. London and New York: Routledge.
Onciul, B. , M. Stefano and S. Hawke (eds) (2017) Engaging Heritage:
Engaging Communities. Woodbridge: Boydell & Brewer.
Macdonald, S. (2002) Behind the Scenes at the Science Museum. Oxford:
Berg.
Marincola, P. and G. Adamson (2006) What Makes a Great Exhibition?
Philadelphia: Philadelphia Exhibitions Initiative.
Simon, N. (2010) The Participatory Museum. Santa Cruz, CA: Museum 2.0.
Watson, S. (ed.) (2007) Museums and Their Communities. London and New
York: Routledge.

The business of culture

Adam, G. (2014) Big Bucks: The Explosion of the Art Market in the 21st
Century. Farnham: Lund Humphries.
Aynsley, J. (2009) Designing Modern Germany. London: Reaktion Books.
Baxandall, M. (1972) Painting and Experience in Fifteenth-Century Italy.
Oxford:Oxford University Press.
Bishop, C. (2014) Radical Museology: Or, What’s ‘Contemporary’ in
Museums of Contemporary Art? Revised 2nd edition. London: Koenig
Books.
Black, G. (2012) Transforming Museums in the Twenty-First Century.
London and New York: Routledge.
BOP Consulting (2012) Measuring the Economic Impact of the Arts and
Culture: Practical Guidance on Research Methodologies for Arts and
Cultural Organisations. London: Arts Council England.
British Council (2014) Re-Imagine Museums and Galleries: UK–India
Opportunities and Partnerships. London: British Council.
Chung, Y. (2005) ‘The impact of privatization on museum admission
charges: A case study from Taiwan’. International Journal of Arts
Management 7(2): 27–38.
Cooper, K.C. (2008) Spirited Encounters: American Indians Protest Museum
Policies and Practices. Plymouth: AltaMira Press.
Craik, J. (2007) Re-visioning Arts and Cultural Policy: Current Impasses and
Future Directions. Canberra: ANU E Press.
Denton, K.A. (2005) ‘Museums, memorial sites and exhibitionary culture in
the People’s Republic of China’, in M. Hockx and J. Strauss (eds) Culture in
the Contemporary PRC: The China Quarterly Special Issues, No. 6.
Cambridge: University of Cambridge Press.
Dicks, B. (2003) Culture on Display: The Production of Contemporary
Visitability. Berkshire: Open University Press.
Economist (2013) ‘China: Mad about museums: Special report museums’.
The Economist, 21 December, 8–9.
Evans, M. (2015) Artwash: Big Oil and the Arts. London: Pluto Press.
Falk, J.H. and B.K. Sheppard (2006) Thriving in the Knowledge Age: New
Business Models for Museums and Other Cultural Institutions. Oxford:
AltaMira Press.
Gray, C. (2002) ‘Local government and the arts’. Local Government Studies
28(1): 77–90.
Gray, C. (2008) ‘Instrumental policies: Causes, consequences, museums
and galleries’. Cultural Trends 17: 209–222.
Hillman-Chartrand, H. and C. McCaughey (1989) ‘The arm’s length principle
and the arts: An international perspective – past, present and future’, in M.
Cumming and M. Schuster (eds) Who’s to Pay for the Arts? The
International Search for Models of Support. New York: American Council for
the Arts Books: 54–55.
International Council of Museums (ICOM) (2013) ‘ICOM code of ethics for
museums’. Paris: International Council of Museums.
Kendall, G. (2012) ‘Slash and burn’. Museums Journal November: 24–28.
Local Government Association (2013) Driving Growth Through Local
Government in the Arts. London: Local Government Association.
Lowenthal, D. (1998) The Heritage Crusade and the Spoils of History.
Cambridge: Cambridge University Press.
Lu, T.L.-D. (2014) Museums in China: Power, Politics and Identities. Oxford:
Routledge.
Macdonald, S. (2011) A Companion to Museum Studies. Chichester:
Blackwell.
McClellan, A. (2003) Art and Its Publics: Museum Studies at the Millennium.
Oxford: Blackwell.
Pes, J. and E. Sharpe (2014) ‘Expanding your space helps build an
audience’. The Art Newspaper: Special Report – Visitor Figures 2013
XXIII(256): 6.
Phelan, M.E. (2014) Museum Law: A Guide for Officers, Directors, and
Counsel. 4th edition. Plymouth: Rowman & Littlefield.
Philips, D. and G. Whannel (2013) The Trojan Horse: The Growth of
Commercial Sponsorship. London: Bloomsbury Academic.
Rocco, F. (2013) ‘Temples of delight: Special report museums’. The
Economist 21 December: 3–6.
Scott, C. , J. Dodd and R. Sandell (2014) Cultural Value. User value of
museums and galleries: A critical review of the literature. Leicester: RCMG
and AHRC.
Schuster, J. (1998) ‘Neither public nor private: The hybridization of
museums’. Journal of Cultural Economics 22: 127–150.
Tate (2013) Tate Report 2012–13. London: Tate Publishing.
Tate (2014) Tate Report 2013–14. London: Tate Publishing.
TEFAF (The European Fine Art Foundation) (2012) The International Art
Market in 2011: Observations of the Art Trade over 25 Years. Maastricht:
The European Fine Art Foundation.
The State of Queensland, Queensland Museum (2009) Valuing the
Queensland Museum: A Contingent Valuation Study 2008. Queensland:
Queensland Museum.
Throsby, D. (2010) The Economics of Cultural Policy. Cambridge:
Cambridge University Press.
Wallach, A. (2003) ‘Norman Rockwell at the Guggenheim’, in A. McClellan
(ed.) Art and Its Publics: Museum Studies at the Millennium. Oxford:
Blackwell.
Weil, S. (1983) Beauty and the Beasts – On Museums, Art, the Law, and the
Market. Washington, DC: Smithsonian Institution Press.
Art Newspaper (2015) ‘Special report: Visitor figures’. URL:
http://theartnewspaper.com/reports/visitor-figures-2015/
ArtReview (2014) ‘Power 100: 2014’. URL:
http://artreview.com/power_100/sheikha_al-
mayassa_bint_hamad_bin_khalifa_al- thani/
Astier, H. (2007) ‘Gulf Louvre deal riles French art world’. BBC News 6
March. URL: http://news.bbc.co.uk/1/hi/world/europe/6421205.stm
Atelier Jean Novel (2007) ‘Louvre Museum Abu Dhabi (United Arab
Emirates)’. URL:
http://www.jeannouvel.com/mobile/en/smartphone/#/mobile/en/smartphone/p
rojet/louvre-abou-dabi
Atkinson, R. (2014) ‘Should there be tougher sanctions for museums that
break the code of ethics?’. Museums Journal August. URL:
http://www.museumsassociation.org/museums-journal/news/18082014-
should-there-be-tougher-sanctions-for-museums-that-break-the-code-of-
ethics
Baniotopoulou, E. (2001) ‘Art for whose sake? Modern art museums and
their role in transforming society: The case of the Guggenheim Bilbao’. The
Journal of Conservation and Museum Studies (open access). URL:
http://www.jcms-journal.com/articles/10.5334/jcms.7011/
Batty, D. (2012) ‘Unilever ends £4.4m sponsorship of Tate Modern’s turbine
hall’. The Guardian 16 August 2012. URL:
http://www.theguardian.com/artanddesign/2012/aug/16/unilever-ends-
turbine-hall-sponsorship
Batty, D. (2013) ‘Art world protest over “mistreatment” of migrants at Abu
Dhabi cultural hub’. The Guardian 2 November. URL:
http://www.theguardian.com/world/2013/nov/02/abu-dhabi-culture-
guggenheim-louvre-workers-rights
Blatchford, I. (2015) ‘Funders and our climate science gallery’. The Science
Museum Blog. URL: https://blog.sciencemuseum.org.uk/funders-and-our-
climate-science-gallery/
British Petroleum (BP) (2015) ‘Connecting through arts and culture’. URL:
http://www.bp.com/en_gb/united-kingdom/bp-in-the-community/connecting-
through-arts-and-culture.html
Cascone, S. (2015) ‘Paul Gauguin painting sells for record $300 million to
Qatar museums in private sale’. Artnet News 5 February. URL:
https://news.artnet.com/market/paul-gauguin-painting-sells-for-record-300-
million-to-qatar-museums-in-private-sale-245817
Chow, V. (2014) ‘M+ Museum adds Tiananmen images to its collection’.
South China Morning Post. 17 February. URL:
http://www.scmp.com/news/hong-kong/article/1429202/m-museum-adds-
tiananmen-images-its-collection
Clark, N. (2015) ‘Museums and galleries across UK planning to charge entry
fees amid funding cuts’. The Independent 23 July. URL:
http://www.independent.co.uk/arts-entertainment/art/news/museums-and-
galleries-across-uk-planning-to-charge-entry-fees-amid-funding-cuts-
10411329.html
Clore Duffield Foundation (2015) ‘Introduction’. URL:
http://www.cloreduffield.org.uk/home.htm
Department for Culture Media and Sport (DCMS) (2015) ‘Sponsored
museums: Performance indicators 2013/14’. URL:
https://www.gov.uk/government/uploads/system/uploads/attachment_data/fil
e/409904/Sponsored_Museums_Performance_Indicators_2013_14_word_d
oc_v2.pdf
Dowd, V. (2011) ‘Museum entry fees: How the UK compares’. BBC News 1
December. URL: http://www.bbc.co.uk/news/entertainment-arts-15982797
East Grinstead Museum (n.d.) ‘Donate’. URL:
http://www.eastgrinsteadmuseum.org.uk/support-us/donate/
Economist (2012) ‘Art the conqueror’, The Economist 17 March. URL:
http://www.economist.com/node/21550291
Forbes (2014) ‘The world’s 100 most powerful women: Sheikha Mayassa Al
Thani’. URL: http://www.forbes.com/profile/sheikha-mayassa-al-thani/
Frayling, C. (2010) ‘Crude awakening: BP in the Tate’. The Guardian 30
June. URL: https://www.theguardian.com/artanddesign/2010/jun/30/bp-tate-
protests
Friends of Joyce Tower Society (2012) ‘James Joyce Tower saved’‘. URL:
http://jamesjoycetower.com
Gillis, J. and J. Schwartz (2015) ‘Deeper ties to corporate cash for doubtful
researcher’. The New York Times 21 February. URL:
http://www.nytimes.com/2015/02/22/us/ties-to-corporate-cash-for-climate-
change-researcher-Wei-Hock-Soon.html?_r= 2
Guardian (2009) ‘Defying arts charity “cost museum £80,000 grant”’. The
Guardian 5 June. URL:
http://www.theguardian.com/artanddesign/2009/jun/05/fitzwilliam-museum-
loses-art-fund-grant
Guggenheim Museum (1998) ‘Bilbao one year anniversary: Unprecedented
success’. URL: https://www.guggenheim.org/press-release/november-2-
bilbao-one-year-anniversary-unprecedented-success
Guggenheim Museum (2015a) ‘Abu Dhabi’. URL:
https://www.guggenheim.org/about-us
Guggenheim Museum (2015b) ‘Helsinki Design Competition: About’. URL:
http://designguggenheimhelsinki.org/en/about
Halperin, J. (2015) ‘As a generation of directors reaches retirement, fresh
faces prepare to take over US Museums’. The Art Newspaper 2 June. URL:
http://theartnewspaper.com/news/museums/156230/
Harris, G. (2015) ‘Private fortunes drive Beirut’s museum boom’. The Art
Newspaper 7 October. URL:
http://theartnewspaper.com/news/museums/159214/
Hebditch, K. (2008) ‘Setting up a new museum’. Association of Independent
Museums. URL: http://www.aim-museums.co.uk/downloads/3edb023b-f554-
11e3-8be4-001999b209eb.pdf
Henley, J. (2016) ‘New blow to Guggenheim Helsinki plan as Finnish party
rules out state funding’. The Guardian 14 September. URL:
https://www.theguardian.com/world/2016/sep/14/finnish-coalition-partner-
rules-out-state-funding-guggenheim-helsinki
H!TANG and China Creative Connections (2011) ‘How the cultural sector
works in China’. URL: http://www.hitangandccc.com/blog/2011/11/financing-
funding-cultural-projects-china
Holden, J. (2005) ‘Capturing cultural value: How culture has become a tool
of government policy’. Demos. URL:
https://www.demos.co.uk/files/CapturingCulturalValue.pdf
Kendall, G. (2013) ‘Science Museum group would close one site if 10% cut
goes ahead’. Museums Journal 5 June. URL:
http://www.museumsassociation.org/museums-journal/news/05062013-
science-museum-group-would-close-museum
Kirchgaessner, S. (2014) ‘Italy to bring private sector into its museums in
effort to make a profit’. The Guardian 21 December. URL:
http://www.theguardian.com/culture/2014/dec/21/italy-aims-to-make-
museums-profitable
Louvre (n.d.) ‘Hours and admission’. URL: http://www.louvre.fr/en/hours-
admission/admission#tabs
Louvre Abu Dhabi (2014) ‘Construction of Louvre Abu Dhabi in progress’.
URL: http://louvreabudhabi.ae/en/building/Pages/development.aspx
Macalister, T. (2015) ‘Shell sought to influence direction of Science Museum
climate programme’. The Guardian 31 May. URL:
https://www.theguardian.com/business/2015/may/31/shell-sought-influence-
direction-science-museum-climate-programme
Metropolitan Museum of Art (2013) ‘Metropolitan Museum announces gift of
major cubist collection comprising 78 works by Picasso, Braque, Gris, and
Léger from Leonard A. Lauder and creation of new research center for
modern art’. URL: http://www.metmuseum.org/press/news/2013/lauder-
announcement
Ministry of Education, Culture and Science, Holland (2013) ‘The Dutch
cultural system’. URL:
https://www.government.nl/documents/leaflets/2013/06/17/the-dutch-
cultural-system
MoMA (2014) ‘The Museum of Modern Art: Consolidated financial
statements June 30, 2014 and 2013’. URL:
https://www.moma.org/momaorg/shared/pdfs/docs/about/MoMAFY14.pdf
MoMA (2015a) ‘Hours and admission’. URL:
http://www.moma.org/visit/plan/index#hours
MoMA (2015b) ‘Museum history’. URL: http://www.moma.org/about/history
Museuminsel (n.d.) ‘The future of the Museum Island Berlin’. URL:
https://www.museumsinsel-berlin.de/en/home/
Museums, Libraries and Archives Wales (2010) ‘A museums strategy for
Wales’. URL: http://www.museumsassociation.org/download?id= 127545
National Lottery (UK) (2015) ‘Where the money goes’. URL:
https://www.national-lottery.co.uk/life-changing/where-the-money-goes
National Museum Directors’ Council (NMDC) (2011) ‘10th anniversary of
free admission to national museums’. URL:
http://www.nationalmuseums.org.uk/what-we-
do/encouraging_investment/free-admission/
National Portrait Gallery (2014) ‘News Release: National Portrait Gallery and
Art Fund “save Van Dyck” appeal successful as over £10m raised thanks to
Heritage Lottery Fund Grant of £6.3m’. URL:
http://www.npg.org.uk/about/press/news-release-national-portrait-gallery-
and-art-fund-save-van-dyck.php
National September 11 Memorial and Museum (2015) ‘Facts and figures’.
URL: https://www.911memorial.org/interact
Novamedia (2015) ‘Charity lotteries: The Netherlands’. URL:
http://www.novamedia.nl/about-charity-lotteries/the-netherlands
Odeon (2015) ‘London Leicester Square’. URL:
http://www.odeon.co.uk/cinemas/london_leicester_square/105/
Osborne, G. and N. MacGregor (2015) ‘100 objects to Help Britain and
China get to know each other’. The Telegraph 21 September. URL:
http://www.telegraph.co.uk/news/worldnews/asia/china/11878384/100-
objects-to-help-Britain-and-China-get-to-know-each-other.html
Pirovano, S. (2015) ‘Are Italy’s museum reforms enough to stop the rot?’
Apollo 1 June. URL: http://www.apollo-magazine.com/are-italys-museum-
reforms-enough-to-stop-the-rot/
Pogrebin, R. (2011) ‘Resisting renaming of Miami Museum’. The New York
Times 6 December. URL:
http://www.nytimes.com/2011/12/07/arts/design/jorge-m-perezs-name-on-
miami-museum-roils-board.html?_r= 0
Rawlinson, K. (2015) ‘Activists occupy British Museum over BP
Sponsorship’. The Guardian 13 September. URL:
http://www.theguardian.com/business/2015/sep/13/activists-occupy-british-
museum-over-bp-sponsorship
Rex, B. (2015) ‘Who runs local museums and how are they surviving the
funding crisis?’ The Guardian 10 July. URL:
http://www.theguardian.com/public-leaders-network/2015/jul/10/who-runs-
local-museums-surviving-funding-crisis
Rogers, S. (2012) ‘Government spending by department, 2011–12: Get the
data’. The Guardian 4 December. URL:
https://www.theguardian.com/news/datablog/2012/dec/04/government-
spending-department-2011-12
Rosenfield, K. (2012) ‘Update: Zaha Hadid’s Maxxi Museum faces closure’
ArchDaily 11 May. URL: http://www.archdaily.com/233629/update-zaha-
hadids-maxxi-museum-faces-closure/
Rothschild Foundation Europe (2015) ‘History’. URL:
http://rothschildfoundation.eu/about/history/
Royal Museums Greenwich (2009) ‘National Maritime Museum secures £5m
Heritage Lottery Fund grant towards Sammy Ofer Wing project’. URL:
http://www.rmg.co.uk/work-services/news-press/press-release/national-
maritime-museum-secures-%C2%A35m-heritage-lottery-fund
Science Museum (2015) ‘Cosmonauts: Birth of the space age’. URL:
http://www.sciencemuseum.org.uk/visitmuseum/plan_your_visit/exhibitions/c
osmonauts
Siegal, N. (2013) ‘Euro crisis hits museums’. Art in America May 2013. URL:
http://www.artinamericamagazine.com/news-features/magazine/euro-crisis-
hits-museums/
Smithsonian (2015a) ‘Visitor information’. URL: http://www.si.edu/visit
Smithsonian (2015b) ‘Smithsonian statement: Dr. Wei-Hock (Willie) Soon’.
URL: http://newsdesk.si.edu/releases/smithsonian-statement-dr-wei-hock-
willie-soon
Tate (2016) ‘The Tate Modern project’. URL:
http://www.tate.org.uk/about/projects/tate-modern-project
Tremlett, G. (2011) ‘Spain’s E44m Niemeyer centre is shut in galleries glut’.
The Guardian 3 October. URL:
http://www.theguardian.com/world/2011/oct/03/spain-niemeyer-centre-closes
United Nations Educational, Social and Cultural Organisation (UNESCO)
(1970) ‘Convention on the means of prohibiting and preventing the illicit
import, export and transfer of ownership of cultural property’. URL:
http://portal.unesco.org/en/ev.php-
URL_ID=13039&URL_DO=DO_TOPIC&URL_SECTION=201.html
Victoria and Albert Museum (2015a) ‘First major construction milestone for
V&A Dundee’. 23 June. URL: http://www.vandadundee.org/news/187/First-
major-construction-milestone-for-VA-Dundee.html
Victoria and Albert Museum (2015b) ‘Dundee Waterfront’. URL:
http://www.vandadundee.org/Dundee-Waterfront
Youngs, I. (2013) ‘Newcastle Council’s 50% arts cuts confirmed’. BBC News
7 March. URL: http://www.bbc.co.uk/news/entertainment-arts-21668498
Cooper, K. C. (2008) Spirited Encounters: American Indians Protest
Museum Policies and Practices. Plymouth: AltaMira Press.
Craik, J. (2007) Re-Visioning Arts and Cultural Policy: Current Impasses and
Future Directions. Canberra: ANU E Press.
Cumming, M. and M. Schuster (eds) Who’s to Pay for the Arts? The
International Search for Models of Support. New York: American Council for
the Arts Books.
Dicks, B. (2003) Culture on Display: The Production of Contemporary
Visitability. Maidenhead: Open University Press.
Evans, M (2015) Artwash: Big Oil and the Arts. London: Pluto Press.
Scott, C. (ed.) (2013) Museums and Public Value: Creating Sustainable
Futures. London and New York: Routledge.
Throsby, D. (2010) The Economics of Cultural Policy. Cambridge:
Cambridge University Press.
Weil, S. (1983) Beauty and the Beasts – On Museums, Art, the Law, and the
Market. Washington, DC: Smithsonian Institution Press.

Display, interpretation and learning

Alcoff, L. (1991–1992) ‘The problem of speaking for others’. Cultural Critique
No. 20: 5–32.
Alicata, M. (2008) Tate Modern: London. Milan: Mondadori Electa.
Aronsson, P. and G. Elgenius (2015) National Museums and Nation-Building
in Europe 1750–2010: Mobilization and Legitimacy, Continuity and Change.
London and New York: Routledge.
Bennett, J. (2010) Vibrant Matter: A Political Ecology of Things. Durham, NC
and London: Duke University Press.
Blazwick, I. and F. Morris (2000) ‘Showing the twentieth century’, in Tate
Modern: The Handbook. London: Tate Gallery Publishing.
Bourdieu, P. (1984) Distinction: A Social Critique of the Judgement of Taste.
London: Routledge.
Burlington Magazine (2007) ‘Editorial: Museums in Britain: Bouquets and
brickbats’. The Burlington Magazine 149(1256), November: 747–748.
Crais, C. and P. Scully (2009) Sara Baartman and the Hottentot Venus: A
Ghost Story and a Bibliography. Princeton, NJ: Princeton University Press.
Dean, D.K. (2005) ‘Ethics and museum exhibitions’, in G. Edson (ed.)
Museum Ethics. London and New York: Routledge: 196–201.
De Montebello, P. (2004) ‘Introduction’, in A. Peck , J. Parker , W. Rieder .
(eds) Period Rooms in The Metropolitan Museum of Art. New Haven, CT
and London: Yale University Press.
Doering, Z. and A. Perkarik (1996) ‘Questioning the entrance narrative’. The
Journal of Museum Education 21(3): 20–23.
Duncan, C. (2005) ‘The art museum as ritual’, in G. Corsane (ed.) Heritage,
Museums and Galleries: An Introductory Reader. Routledge: London and
New York: 78–88.
Falk, J.H. and L.D. Dierking (1992) The Museum Experience. Washington,
DC: Whalesback Books.
Goodwin, Z.A. , D.J. Harris , D. Filer , J.R.I. Wood and R.W. Scotland (2015)
‘Widespread mistaken identity in tropical plant collections’. Current Biology
25(22): 1066–1067.
Green, C. and A. Gardner (2016) Biennials, Triennials, and Documenta: The
Exhibitions that Created Contemporary Art. Chichester: Wiley Blackwell.
Guerrilla Girls (2005) ‘Do women have to be naked update’, from the series
‘Guerrilla Girls Talk Back: Portfolio 2’.
Halperin, J. and N. Patel (2015) ‘Museums don’t know what visitors want’.
The Art Newspaper Special Report: Visitor Figures 2014, XXIV(267), April:
5.
Hein, G.E. (1998) Learning in the Museum. London: Routledge.
Hillier, B. and K. Tzortzi (2011) ‘Space syntax: The language of museum
space’, in S. MacDonald (ed.) A Companion to Museum Studies. Chichester:
Blackwell: 282–301.
Hooper-Greenhill, E. (1992) Museums and the Shaping of Knowledge.
London: Routledge.
Kirshenblatt-Gimblett, K. (1998) Destination Culture: Tourism, Museums and
Heritage. Berkeley and Los Angeles: University of California Press.
Knell, S. (2011) ‘National museums and the national imagination’, in S.J.
Knell , P. Aronsson , A. Bugge Amudson . (eds) (2011) National Museums:
New Studies from Around the World. London and New York: Routledge.
Lavine, S.D. and I. Karp (1991) ‘Introduction: Museums and
multiculturalism’, in I. Karp and S.D. Lavine (eds) Exhibiting Cultures: The
Poetics and Politics of Museum Display. Washington: Smithsonian
Institution: 1–10.
Lehmbruck, M. (1974) ‘Psychology: Perception and behaviour’. Museum 26:
191–204.
Leinhardt, G. and K. Knutson (2004) Listening in on Museum Conversations.
Oxford: Alta Mira Press.
Lidchi, H. (1997) ‘The poetics and politics of exhibiting other cultures’, in S.
Hall (ed.) Representation: Cultural Representations and Signifying Practices.
Milton Keynes: The Open University Press: 151–222.
Macdonald, S. (ed.) (1998) The Politics of Display: Museums, Science,
Culture. London: Routledge.
MacLeod, S. , L. Hourston Hanks and J. Hale (eds) (2012) Museum Making:
Narratives, Architectures, Exhibitions. London and New York: Routledge.
Marandino, M. , M. Achiam and A. Dias de Olivereira (2015) ‘The diorama as
a means for biodiversity education’, in S.D. Tunnicliffe and A. Scheersoi
(eds) Natural History Dioramas: History, Construction and Educational Role.
Heidelberg, New York, London: Springer: 251–266.
Mason, R. (2005) ‘Museums, galleries and heritage: Sites of meaning-
making and communication’, in G. Corsane (ed.) Heritage, Museums and
Galleries: An Introductory Reader. London and New York: Routledge:
200–214.
McClellan, A. (2003) ‘A brief history of the art museum public’, in A.
McClellan (ed.) Art and Its Publics: Museum Studies at the Millennium.
Oxford: Blackwell.
Meszaros, C. (2007) ‘Interpretation and the hermeneutic turn’. Engage 20:
17–22.
Moser, S. (2010) ‘The devil is in the detail: Museum displays and the
creation of knowledge’. Museum Anthropology 33(1): 22–32.
Moss, M.H. (2007) Shopping as an Entertainment Experience. Plymouth:
Lexington Books.
Museums, Libraries and Archives Council (MLA) (2004) The Accreditation
Scheme for Museums in the United Kingdom. London: MLA.
O’Doherty, B. (1976) Inside the White Cube: The Ideology of the Gallery
Space. Expanded edition. London, Berkeley and Los Angeles: University of
California Press.
O’Neill, M. (2007) ‘Kelvingrove: Telling stories in a treasured old/new
museum’. Curator: The Museum Journal 50(4), October: 379–399.
O’Neill, M. (2008) ‘Kelvingrove defended’. The Burlington Magazine
150(1262), May: 330.
Ravelli, L.J. (2006) Museum Texts: Communication Frameworks. London:
Routledge.
Saljö, R. (2003) ‘From transfer to boundary crossing’, in T. Tuomi-Gröhn and
Y. Engeström (eds) Between School and Work: New Perspectives on
Transfer and Boundary Crossing. Amsterdam: Elsevier Science: 311–321.
Schaffner, I. (2015) ‘Wall text’, in P. Marincola (ed.) What Makes A Great
Exhibition? Philadelphia, PA: The Pew Center for Arts and Heritage:
154–167.
Serota, N. (1996) Experience or Interpretation: The Dilemma of Museums of
Modern Art. London: Thames & Hudson.
Simon, N. (2010) The Participatory Museum. Santa Cruz, CA: Museum 2.0.
Stam, D.C. (2005) ‘The informed muse: The implications of the “new
museology” for museum practice’, in G. Corsane (ed.) Heritage, Museums
and Galleries: An Introductory Reader. London: Routledge: 54–70.
Storr, R. (2015) ‘Show and tell’, in P. Marincola (ed.) What Makes a Great
Exhibition? Philadelphia, PA: The Pew Center for Arts and Heritage: 14–31.
Weibel, P. (2007) ‘Beyond the white cube’, in P. Weibel and A. Buddensieg
(eds) Contemporary Art and the Museum. Ostfildern; Hatje Cantz.
Weil, S.E. (2004) ‘Rethinking the museum: An emerging new paradigm’, in
G. Anderson (ed.) Reinventing the Museum: Historical and Contemporary
Perspectives on the Paradigm Shift. Walnut Creek: Altamira Press: 74–79.
Whitehead, C. (2009) Museums and the Construction of Disciplines: Art and
Archaeology in Nineteenth Century Britain. London: Duckworth Academic.
Whitehead, C. (2012) Interpreting Art in Museums and Galleries. London:
Routledge.
Wood, E. and K.F. Latham (2014) The Objects of Experience: Transforming
Visitor-Object Encounters in Museums. Walnut Creek, CA: Left Coast Press.
BritainThinks (2013) ‘Public perceptions of – and attitudes to – the purposes
of museums in society.’ Report commissioned for the Museums Association.
URL: http://www.museumsassociation.org/download?id= 954916
British Museum (n.d.) ‘History of the British Museum’. URL:
http://www.britishmuseum.org/about_us/the_museums_story/general_history
.aspx
Brooklyn Museum (2015) ‘Brooklyn Museum building’. URL:
https://www.brooklynmuseum.org/features/building
Glasgow Museums (2008) ‘Sandro Botticelli – The Annunciation’. URL:
http://collections.glasgowmuseums.com/starobject.html?oid= 166843
National Museum of American History (2015) ‘The value of money’. URL:
http://americanhistory.si.edu/exhibitions/value-money
National Museum of Scotland (2016) ‘Discover the museum’. URL:
http://www.nms.ac.uk/national-museum-of-scotland/discover-the-museum/
Œuvre Notre-Dame Museum (2015) ‘Nicolas de Leyde: The first
monographic exhibition dedicated to the artist’. URL:
http://www.musees.strasbourg.eu/sites_expos/deleyde/en/index.php?page=
exposition- 1&ssmenu=ssmenu-expo
Tate (2012) ‘The Tanks Go Live’. URL: http://www.tate.org.uk/about/press-
office/press-releases/tanks-go-live
Tate (2013) ‘Meet 500 years of British Art – Director’s highlights: Penelope
Curtis’. Tate Britain. URL: http://www.tate.org.uk/context-
comment/blogs/meet-500-years-british-art-directors-highlights-penelope-
curtis
Victoria & Albert Museum (2015) ‘The Ardabil carpet’. URL:
http://www.vam.ac.uk/page/a/ardabil-carpet/
Whitechapel Gallery (2017) ‘Max Mara Art Prize for Women’. URL:
http://www.whitechapelgallery.org/about/prizes-awards/max-mara-art-prize-
women/
Falk, J.H. , and Dierking, L.D. (1992) The Museum Experience. Washington,
DC: Whalesback Books.
Hein, G.E. (1998) Learning in the Museum. London: Routledge.
Hooper Greenhill, E. (1992) Museums and the Shaping of Knowledge.
London: Routledge.
Kirshenblatt-Gimblett, K. (1998) Destination Culture: Tourism, Museums and
Heritage. Berkley and Los Angeles: University of California Press.
Macdonald, S. and P. Basu (eds) (2007). Exhibition Experiments (New
Interventions in Art History). Malden, MA; Oxford; Victoria, Canada:
Blackwell.
MacLeod, S. , L. Hourston Hanks and J. Hale (eds) (2012) Museum Making:
Narratives, Architectures, Exhibitions. London and New York: Routledge.
O’Doherty, B. (1976) Inside the White Cube: The Ideology of the Gallery
Space [expanded edition]. London, Berkley and Los Angeles: University of
California Press.
Serota, N. (1996) Experience or Interpretation: The Dilemma of Museums of
Modern Art. London: Thames & Hudson.
Tzortzi, K. (2015) Museum Space: Where Architecture Meets Museology.
London and New York: Routledge.
Whitehead, C. (2012) Interpreting Art in Museums and Galleries. London:
Routledge.

Looking forward
Sandell, R. (2017) Museums, Moralities, and Human Rights. London:
Routledge.
Whitehead C. , K. Lloyd , S. Eckersley and R. Mason (eds) (2015)
Museums, Migration and Identity in Europe: Peoples, Places and Identities.
Farnham: Ashgate.
Williams, P. (2007) Memorial Museums: The Global Rush to Commemorate
Atrocities. Oxford and New York: Berg.
DiversityInc (2016) ‘President Obama on Trump: “We’ve got a museum for
him to visit”: The National Museum of African American History and Culture
will provide a history lesson on Black progress in America that Donald
Trump needs’. http://www.diversityinc.com/news/president-obama-trump-
weve-got-museum-visit/
International Coalition of Sites of Conscience (2017) ‘About us’. URL:
http://www.sitesofconscience.org/about-us/
Kornhaber, S. (2017) ‘The tangled debate over art-world protests’. The
Atlantic 18 January. URL:
https://www.theatlantic.com/entertainment/archive/2017/01/meryl-streep-j20-
art-strike-trump-protests/512675/.
Museo Memoria Y Tolerancia [Museum of Memory and Tolerance], Mexico
City (2017) Homepage. URL: http://www.myt.org.mx/
Network of European Museum Organisations (NEMO) (2016) ‘Initiatives of
museums in Europe in connection to migrants and refugees’. URL:
http://www.ne-
mo.org/fileadmin/Dateien/public/Documents_for_News/NEMO_collection_Ini
tiatives_of_museums_to_integrate_migrants.pdf
Obama, B. (2012) ‘Remarks at a groundbreaking ceremony for the National
Museum of African American History and Culture’. The American Presidency
Project 22 February. URL:
http://www.presidency.ucsb.edu/ws/index.php?pid=99597andst=andst1=
Palestinian Museum (2016) ‘The museum’. URL:
http://www.palmuseum.org/about/the-museum
Serota, N. (2010) ‘Why Tate needs to change’. The Art Newspaper 1 May.
URL: http://theartnewspaper.com/news/museums/from-the-archive-why-tate-
needs-to-change/
Serota, N. (2016) ‘The 21st-century Tate is a commonwealth of ideas’. The
Art Newspaper 5 January. URL:
http://theartnewspaper.com/comment/comment/the-21st-century-tate-is-a-
commonwealth-of-ideas/
Social Justice Alliance for Museums (SJAM) (2016) ‘Museums’. URL:
http://sjam.org/who-we-are/museum-members/
Staatliche Museen zu Berlin (SMB) (2017) ‘About us’. URL:
http://www.smb.museum/en/museums-institutions/museum-fuer-islamische-
kunst/about-us/whats-new/detail/kultur-als-integrationsmotor-multaka-
projekt-ausgezeichnet.html
Vertovec, S. (2006) The Emergence of Super-Diversity in Britain. Working
Paper No. 25. Compas: Centre on Migration, Policy and Society, University
of Oxford. URL: https://www.compas.ox.ac.uk/media/WP-2006-025-
Vertovec_Super-Diversity_Britain.pdf
Bishop, C. (2014) Radical Museology: or, What’s Contemporary in Museums
of Contemporary Art? Cologne: Verlag Der Buchhandlung Walther Konig.
Crooke, E. (2007) Museums and Community: Ideas, Issues and Challenges.
London and New York: Routledge.
Marstine, J. , A. Bauer and C. Haines (eds) (2013) New Directions in
Museum Ethics. London and New York: Routledge.
Message, K. and A. Witcomb (eds) (2015) Museum Theory: An Expanded
Field. The International Handbooks of Museums Studies. Oxford: John
Wiley.
Onciul, B. (2015) Museums, Heritage and Indigenous Voice: Decolonising
Engagement. London and New York: Routledge.
Parry, R. (ed.) (2010) Museums in a Digital Age. London and New York:
Routledge.
Sandell, R. (2017) Museums, Moralities, and Human Rights. London:
Routledge.