Oral history and art: sculpture forms part of a series of three books - the other two focus on paiting and phtooraphy - drawn from oral history transcripts in the collection of the Archives of American Art, Smithsonian Institution. Containing the complete transcripts of unique interviews with ground breaking artists whose work has profoundly changed both our understanding of the world and the course of art itself.

In this pioneering book, Christopher Whitehead provides an overview and critique of art interpretation practices in museums and galleries. Covering the philosophy and sociology of art, traditions in art history and art display, the psychology of the aesthetic experience and ideas about learning and communication, Whitehead advances major theoretical frameworks for understanding interpretation from curators’ and visitors’ perspectives. Although not a manual, the book is deeply practical. It presents extensively researched European and North American case studies involving interviews with professionals engaged in significant cutting-edge interpretation projects. Finally, it sets out the ethical and political responsibilities of institutions and professionals engaged in art interpretation. Exploring the theoretical and practical dimensions of art interpretation in accessible language, this book covers: The construction of art by museums and galleries, in the form of collections, displays, exhibition and discourse; The historical and political dimensions of art interpretation; The functioning of narrative, categories and chronologies in art displays; Practices, discourses and problems surrounding the interpretation of historical and contemporary art; Visitor experiences and questions of authorship and accessibility; The role of exhibition texts, new interpretive technologies and live interpretation in art museum and gallery contexts. Thoroughly researched with immediately practical applications, Interpreting Art in Museums and Galleries will inform the practices of art curators and those studying the subject.

Teaching in the Art Museum investigates the mission, history, theory, practice, and future prospects of museum education. In this book Rika Burnham and Elliott Kai-Kee define and articulate a new approach to gallery teaching, one that offers groups of visitors deep and meaningful experiences of interpreting art works through a process of intense, sustained looking and thoughtfully facilitated dialogue.--[book cover].

Interpreting Art: Reflecting, Wondering, and Responding introduces readers to the varied methodologies of art interpretation without unnecessary jargon, presenting difficult and complex issues in an understandable way for beginning students without alienating more sophisticated readers.

Few perspectives have invigorated the development of critical museum studies over the late twentieth and early twenty-first centuries as much as Foucault’s account of the relations between knowledge and power and their role in processes of governing. Within this literature, Tony Bennett’s work stands out as having marked a series of strategic engagements with Foucault’s work to offer a critical genealogy of the public museum, offering an account of its nineteenth-century and early twentieth-century development that has been constantly alert to the politics of museums in the present. Museums, Power, Knowledge brings together new research with a set of essays initially published in diverse contexts, making available for the first time the full range of Bennett’s critical museology. Ranging across natural history, anthropological art, geological and history museums and their precursors in earlier collecting institutions, and spanning the eighteenth to the twenty-first centuries in discussing museum practices in Britain, Australia, the USA, France and Japan, it offers a compelling account of the shifting political logics of museums over the modern period. As a collection that aims to bring together the ‘signature’ work of a museum theorist and historian whose work has long occupied a distinctive place in museum/society debates, Museums, Power, Knowledge will be of interest to researchers, teachers and students working in the fields of museum and heritage studies, cultural history, cultural studies and sociology, as well as museum professionals and museum visitors.

Interpreting Difficult History at Museums and Historic Sites is framed by educational psychoanalytic theory and positions museum workers, public historians, and museum visitors as learners. Through this lens, museum workers and public historians can develop compelling and ethical representations of historical individuals, communities, and populations who have suffered. It includes various examples of difficult knowledge, detailed examples of specific interpretation methods, and will give readers an in-depth explanation of the psychoanalytic educational theories behind the methodologies. Audiences can more responsibly and productively engage in learning histories of oppression and trauma when they are in measured and sensitive museum learning environments and public history venues. To learn more, check out the website here: http://interpretingdifficulthistory.com/

Topic: exploring art museum interpretation as a medium with massive reach and the potential to foster media literacy, empathy and critical thinking. Audience: visual art journalists, museum workers, art school faculty and students, art enthusiasts and activists. Target publication: Triple Canopy. Research: interviews, professional experience, texts, studies, articles, websites, and internal museum documents, including process documents and audience research evaluation reports. Contribution: this thesis shines a light on the art museum interpretation process as the design process of a medium with massive reach that is unknown to almost anyone who does not work in the field of museum interpretation, as well as the potential for art museums to impact the health of American society and democracy. IN BRIEF: Interpretation in art museums is a relatively new professional field with massive reach and impact, a field that I encountered, explored and eventually engaged in during my years working at the Art Institute of Chicago. While finishing my master’s degree at the School of the Art Institute of Chicago, as I crossed Michigan Avenue back and forth from work to school each week, I realized over time that the process of developing interpretive materials and strategies in art museums was opaque to almost anyone not directly involved in the process—even among other art museum workers, and the faculty who teach in art schools. This thesis is an interview-based, long form study, that explores the interpretation process in American art museums, discussing its implications and key findings with regard to the potential for art museums to be revelatory and relevant in the face of 21st century challenges. Research questions: 1. What is interpretation in art museums, in terms of function, history and scope? 2. Who creates interpretive materials and engagement strategies in American art museums and how? 3. What challenges do art museum interpretation professionals grapple with that art journalists should be aware of? 4. What are the implications and potential societal impact of art museum interpretation on society at large? Theoretical and critical frameworks: To explore these questions, this study drew on five main theoretical frameworks: Freeman Tilden’s original theory of interpretation, Paolo Freire’s theory of critical pedagogy, George Hein’s theory of constructivist learning, Marshall McLuhan’s media theory of the medium as the message, Beverly Serrell’s philosophy and approach to art museum interpretation, A theory of subconscious strategies and motivations for resistance to persuasion by social scientists, Marieke L. Fransen, Edith G. Smit, and Peeter W. J. Verlegh, Maura Reilly’s call for curatorial activism, Hannah Arendt’s assessment that societies are most vulnerable for totalitarianism when their citizens are isolated and atomized. Data: The data is comprised from process documents, evaluation reports, visits to exhibitions, interviews with interpretation professionals from seven case study art museums (The Nelson-Atkins Museum of Art, Museum of Fine Arts, Boston, Museum of Modern Art, The Rubin Museum of Art, The Whitney Museum of Art, the Detroit Institute of Art, and the Art Institute of Chicago), attendance at two museum conferences: AAM 2019 in New Orleans and AAMI 2019 in Detroit, texts and studies on museum interpretation and media theory, social science studies, audience research evaluation reports, visual art journalism articles, as well as my experience as a museum educator and interpretation professional at the Art Institute of Chicago. ANALYSIS: Interviews: The analysis of team interviews was carried out to explore philosophies, attitudes, practices and challenges of interpretation professionals across a spectrum of art museums in America. The analysis was structured around five key themes: Explore and reveal the interpretation process in art museums, Illustrate the history and ongoing evolution of the interpretation process and unique pressures that interpretation teams in art museums face, Explore arguments for and against interpretation, and the role of art museums and interpretation teams in inspiring self-motivated, inquiry-based learning, critical thinking, and media literacy, Explore the potential for interpretation teams to practice “interpretive activism” within art museums. KEY FINDINGS: Art museum interpretation is a complex collection of media with massive reach. Most people—including art school faculty and students, and museum professionals not directly involved in the field of interpretation—are unaware of its existence or the extent of the process involved in producing this media. While there is potential for “interpretive activism” in art museums, there are also unique, complicated challenges to driving progress in meaningful and significant ways. Though it may seem counterintuitive, activists and art critics actually support interpretation professionals in their ability to drive progress internally. In our current historical moment, the U.S. public trusts art museums more than government and journalism. Studies by current day social scientists have validated the theories of Tilden, Freire, Hein and McLuhan. Art museums offer unique potential to promote media literacy and help heal deep divisions in the U.S. CONTRIBUTION: This thesis provides three significant contributions: A roadmap of the art museum interpretation process, An understanding as to unique pressures interpretation professionals navigate in their field, Perspective as to the impact art museum interpretation teams can contribute to the overall health of American society and democracy.

In 1979, Edward P. Alexander's Museums in Motion was hailed as a much-needed addition to the museum literature. In combining the history of museums since the eighteenth century with a detailed examination of the function of museums and museum workers in modern society, it served as an essential resource for those seeking to enter to the museum profession and for established professionals looking for an expanded understanding of their own discipline. Now, Mary Alexander has produced a newly revised edition of the classic text, bringing it the twenty-first century with coverage of emerging trends, resources, and challenges. New material also includes a discussion of the children's museum as a distinct type of institution and an exploration of the role computers play in both outreach and traditional in-person visits.

Bringing together the most significant papers on the interpretation of objects and collections, this volume examines how people relate to material culture and why they collect things.

In this landmark guide, nearly two dozen essays by scholars, educators, and museum leaders suggest the next steps in the interpretation of African American history and culture from the colonial period to the twentieth century at history museums and historic sites. This diverse anthology addresses both historical research and interpretive methodologies, including investigating church and legal records, using social media, navigating sensitive or difficult topics, preserving historic places, engaging students and communities, and strengthening connections between local and national history. Case studies of exhibitions, tours, and school programs from around the country provide practical inspiration, including photographs of projects and examples of exhibit label text. Highlights include: Amanda Seymour discusses the prevalence of "false nostalgia" at the homes of the first five presidents and offers practical solutions to create a more inclusive, nuanced history. Dr. Bernard Powers reveals that African American church records are a rich but often overlooked source for developing a more complete portrayal of individuals and communities. Dr. David Young, executive director of Cliveden, uses his experience in reinterpreting this National Historic Landmark to identify four ways that people respond to a history that has been too often untold, ignored, or appropriated—and how museums and historic sites can constructively respond. Dr. Matthew Pinsker explains that historic sites may be missing a huge opportunity in telling the story of freedom and emancipation by focusing on the underground railroad rather than its much bigger "upper-ground" counterpart. Martha Katz-Hyman tackles the challenges of interpreting the material culture of both enslaved and free African Americans in the years before the Civil War by discussing the furnishing of period rooms. Dr. Benjamin Filene describes three "micro-public history" projects that lead to new ways of understanding the past, handling source limitations, building partnerships, and reaching audiences. Andrea Jones shares her approach for engaging students through historical simulations based on the "Fight for Your Rights" school program at the Atlanta History Center. A exhibit on African American Vietnam War veterans at the Heinz History Center not only linked local and international events, but became an award-winning model of civic engagement. A collaboration between a university and museum that began as a local history project interpreting the Scottsboro Boys Trial as a website and brochure ended up changing Alabama law. A list of national organizations and an extensive bibliography on the interpretation of African American history provide convenient gateways to additional resources.