The greatly expanded second edition of Curating Oral Histories offers the same practical guidance as the first edition in the same engaging style, but with enhanced content and context. Updates on technology, legal and ethical issues, oral history on the Internet, cataloging, copyright, and backlogs reflect current thinking in the field.

Robert Rauschenberg (1925–2008) was a breaker of boundaries and a consummate collaborator. He used silk-screen prints to reflect on American promise and failure, melded sculpture and painting in works called combines, and collaborated with engineers and scientists to challenge our thinking about art. Through collaborations with John Cage, Merce Cunningham, and others, Rauschenberg bridged the music, dance, and visual-art worlds, inventing a new art for the last half of the twentieth century. Robert Rauschenberg is a work of collaborative oral biography that tells the story of one of the twentieth century’s great artists through a series of interviews with key figures in his life—family, friends, former lovers, professional associates, studio assistants, and collaborators. The oral historian Sara Sinclair artfully puts the narrators’ reminiscences in conversation, with a focus on the relationship between Rauschenberg’s intense social life and his art. The book opens with a prologue by Rauschenberg’s sister and then shifts to New York City’s 1950s and ’60s art scene, populated by the luminaries of abstract expressionism. It follows Rauschenberg’s eventual move to Florida’s Captiva Island and his trips across the globe, illuminating his inner life and its effect on his and others’ art. The narrators share their views on Rauschenberg’s work, explore the curatorial thinking behind exhibitions of his art, and reflect on the impact of the influx of money into the contemporary art market. Included are artists famous in their own right, such as Laurie Anderson and Brice Marden, as well as art-world insiders and lesser-known figures who were part of Rauschenberg’s inner circle. Beyond considering Rauschenberg as an artist, this book reveals him as a man embedded in a series of art worlds over the course of a long and rich life, demonstrating the complex interaction of business and personal, public and private in the creation of great art.

Doing Oral History is considered the premier guidebook to oral history, used by professional oral historians, public historians, archivists, and genealogists as a core text in college courses and throughout the public history community. The recent development of digital audio and video recording technology has continued to alter the practice of oral history, making it even easier to produce and disseminate quality recordings. At the same time, digital technology has complicated the preservation of the recordings, past and present. This basic manual offers detailed advice for setting up an oral history project, conducting interviews and using oral history for research, making video recordings, preserving oral history collections in archives and libraries, and teaching and presenting oral history.

How do we engage difficult histories and the experiences of new immigrants displaced by war, genocide, and human rights violations? This book reconfigures the conventional relationship between those who have sought refuge and rebuilt their lives and those who seek to record, understand, and transmit these life stories. It offers an alternative model to traditional research practices based on the idea of shared authority, whereby communities become partners in the research. Drawing on the collaborative Montreal Life Stories project, this book has methodological and ethical implications for scholars of oral history, collaborative research, public history and memory studies, and refugee studies.

With extensive examples from both historical and social science literature, this book is a practical guide to methods of recording oral history. The author provides suggestions on a range of techniques from developing a written interview guide and using tape recorders to asking probing questions during in-depth interviews and editing transcriptions. She also covers the ethical and legal issues involved in conducting life-history interviews and elaborates on three different types of oral history projects: community studies, biographies and family histories.

Curating Revolution examines how Mao-era exhibitions shaped popular understandings of, and participation in, the political campaigns of China's Communist revolution.

Angela Zusman offers an informative guidebook with step-by-step directions for planning and implementing intergenerational oral history projects, using youth to interview elders. An expert on these programs, Zusman uses her experiences and those of other oral historians to show how community projects are organized, youthful historians located and trained, interviews conducted, and the project archived for future community needs. Included are a variety of sample documents and case studies designed to ease the process for the uninitiated.

Guides readers through the process of doing oral history.

This volume inscribes an innovative domain of inquiry, bringing museum and heritage studies to bear on questions of transitional justice, memory and post-conflict reconciliation. As practitioners, artists, curators, activists and academics, the contributors explore the challenges of bearing witness to past conflicts.

It has been half a century since the last book that addressed how historical societies can utilize oral history. In this brief, practical guide, internationally known oral historian Barbara W. Sommer applies the best practices of contemporary oral historians to the projects that historical organizations of all sizes and sorts might develop. The book -covers project personnel options, funding options, legal and ethical issues, interviewing techniques, and cataloging guidelines; -identifies helpful steps for historical societies when developing and doing oral history projects; -includes a dozen model case studies; -provides additional resources, templates, forms, and bibliography for the reader.