Since his modest debut in 1928, Walt Disney’s creation Mickey Mouse has become one of the world’s most recognized and beloved characters. This gorgeous art book gathers original art, drawings, animation cels, and artifacts from a groundbreaking, original exhibition at The Walt Disney Family Museum in San Francisco, with text by noted Disney animator Andreas Deja. Lavishly illustrated with gorgeous art, some of it never before see by the public and published in book form. Trace the history of the world’s most famous character from the eight-minute black-and-white short, Steamboat Willie to his appearance as an Andy Warhol pop-art legend and beyond.

This is a book about why history matters. It shows how popularized historical images and narratives deeply influence Americans' understanding of their collective past. A leading public historian, Mike Wallace observes that we are a people who think of ourselves as having shed the past but also avid tourists who are on a "heritage binge," flocking by the thousands to Ellis Island, Colonial Williamsburg, or the Vietnam Memorial.Wallace probes into the trivialization of history that pervades American culture as well as the struggles over public memory that provoke stormy controversy. The recent imbroglio surrounding the National Air and Space Museum's proposed Enola Gay exhibit was reported as centering on why the U.S. government decided to use the A-Bomb against Japan. Wallace scrutinizes the actual plans for the exhibit and investigates the ways in which the controversy drew in historians, veterans, the media, and the general public.Whether his subject is multimillion dollar theme parks owned by powerful corporations, urban museums, or television docudramas, Mike Wallace shows how their depictions of history are shaped by assumptions about which pasts are worth saving, whose stories are worth telling, what gets left out, and who is authorized to make the decisions. Author note: Mike Wallace is Professor of History at John Jay College, City University of New York. He is the co-author, with Edwin G. Burrows, of Gotham: A History of New York City to 1898, winner of the 1999 Pulitzer Prize for History.

Pink castles, talking sofas, and objects coming to life: what may sound like the fantasies of Hollywood dream-maker Walt Disney were in fact the figments of the colorful salons of Rococo Paris. Exploring the novel use of French motifs in Disney films and theme parks, this publication features forty works of eighteenth-century European design—from tapestries and furniture to Boulle clocks and Sèvres porcelain—alongside 150 Disney film stills, drawings, and other works on paper. The text connects these art forms through a shared dedication to craftsmanship and highlights references to European art in Disney films, including nods to Gothic Revival architecture in Cinderella (1950);bejeweled, medieval manuscripts in Sleeping Beauty (1959); and Rococo-inspired furnishings and objects brought to life in Beauty and the Beast (1991). Bridging fact and fantasy, this book draws remarkable new parallels between Disney’s magical creations and their artistic inspirations.

Celebrate 90 years since the birth of Disney's most iconic creation with this Welcome to the Museum style collection, showcasing Mickey's progression through art styles from his very first appearance to the present day. This curated collection includes rarely-seen artwork from the Disney archives, from concept sketches to final drawings.

From Mickey Mouse to Hercules

This stunning, colorful, and vastly diverse art collection showcases 100 paintings of Walt Disney's Mickey Mouse by contemporary pop artist Tennessee Loveless. Explore Tennessee's fascinating methodology: a story about the power of art, overcoming obstacles, and following your dreams. When he was growing up in the southern United States, Tennessee Loveless didn't know that he was so different from other children in his grade school class. Then one day, he and his classmates were asked to choose a purple object in the room. Everyone else seemed to find this an easy task, while Tennessee slumped down, paralyzed with fear. He couldn't do it. His teacher picked him up, at which point he started crying. Tennessee's parents were called; tests were done; and Tennessee was diagnosed with limited achromatopsia, which is the state of being almost completely color-blind. Tennessee's inability to distinguish most hues has, if anything, made him obsessed with the formation of patterns, objects, and shapes. Early on, he became attracted to the destruction of white space and captivated with the idea of filling in anything lacking in form with a pattern. Later, he learned in color-theory books what hues complemented or contrasted each other appropriately and went on to develop his own numerically based color indexing system. In creating his Mickey Mouse art collection, Tennessee uses bold colors and patterns to evoke an immediate visual impact. He is driven by his passion for painting people, iconic images, and his own visual iconography in a way that strikes an emotional and nostalgic connection through command over the one thing he is blind to: color.

Celebrate 90+ years of Mickey Mouse with one of the most expansive illustrated publications on the Disney universe: behind-the-scenes shots, rare animation art, and vintage comics trace Mickey's cartoons, his comic adventures, the world of Mickey merchandise and memorabilia, as well as the legendary Mickey Mouse Club.

From the day it opened in July 1955, in an event given live TV coverage, Disneyland has been a key symbol of contemporary American culture. It has been both celebrated and attacked as the ultimate embodiment of consumer society, a harbinger of shopping-mall culture, a symbol of American hegemony in entertainment, the epitome of fantasy, simulation, pastiche, and the blurring of distinctions between reality and mass-media imagery. Yet for all the power of Disneyland as metaphor, almost no one has discussed the making of this unique place, with its far-flung colonies in Florida, Japan, and France. Written to accompany an exhibition at the Canadian Centre for Architecture in Montreal, "Designing Disney's Theme Parks: The Architecture of Reassurance" is the first book to look beyond the multiple myths of Disneyland. Uniting a roster of authors chosen from wide-ranging disciplines, this study is the first to examine the influence of Disneyland on both our built environment and our architectural imagination. Tracing the relationship of the Disney parks to their historical forbears, it charts Disneyland's evolution from one man's personal dream to a multinational enterprise, a process in which the Disney "magic" has moved ever closer to the real world. Editor Karal Ann Marling, Professor of Art History and American Studies at the University of Minnesota, draws upon her pioneering work in the Disney archives to reconstruct and analyze the intentions and strategies behind the parks. She is joined by Marty Sklar, Vice Chairman and Principal Creative Executive of Walt Disney Imagineering, historian Neil Harris, art historian Erika Doss, geographer Yi-Fu Tuan, critic Greil Marcus, and architectFrank Gehry to provide a unique perspective on one of the great post-war American icons.

This volume presents sixteen thoughtful essays which address innovative ways to present cultural heritage primarily in ethnographic and social history museums through recent permanent, temporary, and mobile exhibitions. The essays included are taken from the different vantage points; they prompt critical debate about new ways of thinking and working in museums of different sizes, with regard for how we might work collaboratively towards a more equitable future. Essential political issues related to power and the strong influences of the museum are addressed in each section, especially with regards to the presentation of particular cultures and communities.

During the past thirty years, museums of all kinds have tried to become more responsive to the interests of a diverse public. With exhibitions becoming people-centered, idea-oriented, and contextualized, the boundaries between museums and the “real” world are eroding. Setting the transition from object-centered to story-centered exhibitions in a philosophical framework, Hilde S. Hein contends that glorifying the museum experience at the expense of objects deflects the museum's educative, ethical, and aesthetic roles. Referring to institutions ranging from art museums to theme parks, she shows how deployment has replaced amassing as a goal and discusses how museums now actively shape and create values.