The status of photographs in the history of museum collections is a complex one. From its very beginnings the double capacity of photography - as a tool for making a visual record on the one hand and an aesthetic form in its own right on the other - has created tensions about its place in the hierarchy of museum objects. While major collections of 'art' photography have grown in status and visibility, photographs not designated 'art' are often invisible in museums. Yet almost every museum has photographs as part of its ecosystem, gathered as information, corroboration or documentation, shaping the understanding of other classes of objects, and many of these collections remain uncatalogued and their significance unrecognised. This volume presents a series of case studies on the historical collecting and usage of photographs in museums. Using critically informed empirical investigation, it explores substantive and historiographical questions such as what is the historical patterning in the way photographs have been produced, collected and retained by museums? How do categories of the aesthetic and evidential shape the history of collecting photographs? What has been the work of photographs in museums? What does an understanding of photograph collections add to our understanding of collections history more broadly? What are the methodological demands of research on photograph collections? The case studies cover a wide range of museums and collection types, from art galleries to maritime museums, national collections to local history museums, and international perspectives including Cuba, France, Germany, New Zealand, South Africa and the UK. Together they offer a fascinating insight into both the history of collections and collecting, and into the practices and poetics of archives across a range of disciplines, including the history of science, museum studies, archaeology and anthropology.

Features new duotone reproductions of one hundred landmark photographs from the collection of The Museum of Modern Art that chronicle the historical evolution of the photographic arts in works by Adams, Weston, Stieglitz, Steichen, and other notable photographers. Reprint. 10,000 first printing.

Almost all museums hold photographs in their collections, and museum professionals and their audiences engage with photographs in a myriad of ways. Yet despite some three decades of critical museology and photographic theory, and an extensive debate on the politics of representation, outside art museums, almost no critical attention has been given specifically to the roles, purposes and lives of these photographs within museums. This book brings into focus the ubiquitous yet entirely unconsidered work that photographs are put to in museums. The authors' argument is that there is an economy of photographs in museums which is integral to the processes of the museum, and integral to the understanding of museums. The international contributors, drawn from curators and academics, reflect a range of visual and museological expertise. After an introduction setting out the range of questions and problems, the first part addresses broad curatorial strategies and ways of thinking about photographs in museums. Shifting the emphasis from curatorial practices and anxieties to the space of the gallery, this is followed by a series of case studies of exhibitionary practices and the museum strategies that support them. The third section focuses on the role of photographs in the museum articulation of ’difficult histories’. A final section addresses photograph collections in a digital environment. New technologies and new media have transformed the management, address and purposing in photographs in museums, from cataloguing practices to streaming on social media. These growing practices challenge both traditional hierarchies of knowledge in museums and the location of authority about photographs. The volume emerges from PhotoCLEC, a HERA funded project on museums and the photographic legacy of the colonial past in a postcolonial and multicultural Europe.

A new ed. of Struth's "Museum photographs", adding 26 additional images which include pictures of artworks at their original locations.

Photographs have had an integral and complex role in many anthropological contexts, from fieldwork to museum exhibitions. This book explores how approaching anthropological photographs as 'history' can offer both theoretical and empirical insights into these roles. Photographs are thought to make problematic history because of their ambiguity and 'rawness'. In short, they have too many meanings. The author refutes this prejudice by exploring, through a series of case studies, precisely the potential of this raw quality to open up new perspectives. Taking the nature of photography as her starting point, the author argues that photographs are not merely pictures of things but are part of a dynamic and fluid historical dialogue, which is active not only in the creation of the photograph but in its subsequent social biography in archive and museum spaces, past and present. In this context, the book challenges any uniform view of anthropological photography and its resulting archives. Drawing on a variety of examples, largely from the Pacific, the book demonstrates how close readings of photographs reveal not only western agendas, but also many layers of differing historical and cross-cultural experiences. That is, photographs can 'spring leaks' to show an alternative viewpoint. These themes are developed further by examining the dynamics of photographs and issues around them as used by contemporary artists and curators and presented to an increasingly varied public. This book convincingly demonstrates photographs' potential to articulate histories other than those of their immediate appearances, a potential that can no longer be neglected by scholars and institutions.

Museum Matters tells the story of Mexico's national collections through the trajectories of its objects. The essays in this book show the many ways in which things matter and affect how Mexico imagines its past, present, and future.

Mobile Museums presents an argument for the importance of circulation in the study of museum collections, past and present. It brings together an impressive array of international scholars and curators from a wide variety of disciplines – including the history of science, museum anthropology and postcolonial history - to consider the mobility of collections. The book combines historical perspectives on the circulation of museum objects in the past with contemporary accounts of their re-mobilisation, notably in the context of Indigenous community engagement. Contributors seek to explore processes of circulation historically in order to re-examine, inform and unsettle common assumptions about the way museum collections have evolved over time and through space. By foregrounding questions of circulation, the chapters in Mobile Museums collectively represent a fundamental shift in the understanding of the history and future uses of museum collections. The book addresses a variety of different types of collection, including the botanical, the ethnographic, the economic and the archaeological. Its perspective is truly global, with case studies drawn from South America, West Africa, Oceania, Australia, the United States, Europe and the UK. Mobile Museums helps us to understand why the mobility of museum collections was a fundamental aspect of their history and why it continues to matter today. Praise for Mobile Museums 'This book advances a paradigm shift in studies of museums and collections. A distinguished group of contributors reveal that collections are not dead assemblages. The nineteenth and twentieth centuries were marked by vigorous international traffic in ethnography and natural history specimens that tell us much about colonialism, travel and the history of knowledge – and have implications for the remobilisation of museums in the future.’ – Nicholas Thomas, University of Cambridge 'The first major work to examine the implications and consequences of the migration of materials from one scientific or cultural milieu to another, it highlights the need for a more nuanced understanding of collections and offers insights into their potential for future re-mobilisation.' – Arthur MacGregor

According to one of Julia Margaret Cameron’s great-nieces, “we never knew what Aunt Julia was going to do next, nor did anyone else.” This is an accurate summation of the life of the British photographer (1815–1879), who took up the camera at age forty-eight and made more than twelve hundred images during a fourteen-year career. Living at the height of the Victorian era, Cameron was anything but conventional, experimenting with the relatively new medium of photography, promoting her own art though exhibition and sale, and pursuing the eminent personalities of her age—Alfred Tennyson, Charles Darwin, Thomas Carlyle, and others—as subjects for her lens. For the first time, all known images by Cameron, one of the most important nineteenth-century artists in any medium, are gathered together in a catalogue raisonné. In addition to a complete catalogue of Cameron’s photographs, there is information on her life and times, initial experiments, artistic aspirations, techniques, small-format images, albums, commercial strategies, sitters, and sources of inspiration. Also provided are a selected bibliography of publications on Cameron, a list of exhibitions of her work held both in her time as well as our own, and a summary of important collections where her pictures can be found.

In recent years, many museums have implemented sweeping changes in how they engage audiences. However, changes to the field’s approaches to collections stewardship have come much more slowly. Active Collections critically examines existing approaches to museum collections and explores practical, yet radical, ways that museums can better manage their collections to actively advance their missions. Approaching the question of modern museum collection stewardship from a position of "tough love," the authors argue that the museum field risks being constrained by rigid ways of thinking about objects. Examining the field’s relationship to objects, artifacts, and specimens, the volume explores the question of stewardship through the dissection of a broad range of issues, including questions of "quality over quantity," emotional attachment, dispassionate cataloging, and cognitive biases in curatorship. The essays look to insights from fields as diverse as forest management, library science, and the psychology of compulsive hoarding, to inform and innovate collection practices. Essay contributions come from both experienced museum professionals and scholars from disciplines as diverse as psychology, education, and history. The result is a critical exploration that makes the book essential reading for museum professionals, as well as those in training.

Experience the Louvre's majestic halls, grand galleries, and stunning artworks in this exquisite visit to the world-renowned museum­--highlighting beloved works of art alongside hidden gems, all situated in the palace's stunning architectural spaces. Every year, more than ten million visitors from around the world visit the Louvre's 68,000 square meters of gallery space containing more than 35,000 works of art. The Louvre is widely considered the most innovative of the world's preeminent museums. This gorgeous tome is a celebration of an enduring institution and the magnificent works of art that it houses. Rather than showing only isolated images of the artworks themselves, this book shows many of the pieces in the context of the beautiful galleries and spaces where they live, to give the reader an experience similar to being at the Louvre. The Louvre explores the eight centuries of fascinating history surrounding the museum, which began in the Middle Ages as a fortress, then became a royal residence which continued to enlarge, expand, and develop over the centuries with the most brilliant architects and painters being called to work on this architectural masterpiece. In 1793, the Louvre confirmed its role as a "temple of the arts" when it was made the first national museum open to the public. From then on, its collections continued to grow from its roots in the old royal collection, benefiting from acquisitions, archaeological discoveries, donations, and bequests. Centuries of growth, evolution, and transformation culminated in the 1980s with the "Grand Louvre" project symbolized by I.M. Pei's world-famous and critically acclaimed modernist pyramid.