Museums and Popular Culture seeks to unravel the paradox that to adequately reflect popular culture museums may need to abandon their traditional form. This is a book which no one interested in museums can afford to ignore.

Although libraries and museums for many centuries have taken the lead, under one rational or another, in recovering, storing, and displaying various kinds of culture of their periods, lately, as the gap between elite and popular culture has apparently widened, these repositories of artifacts of the present for the future have tended to drift more and more to what many people call the aesthetically pleasing elements of our culture. The degree to which our libraries and museums have ignored our culture is terrifying, when one scans the documents and artifacts of our time which, if history in any wise repeats itself, will in the immediate and distant future become valuable indices of our present culture to future generations. As Professor Schroeder dramatically states it, "No doubt about it, it is the contemporary popular culture that is the endangered species." The essays in this book investigate the reasons for present-day neglect of popular culture materials and chart the various routes by which conscientious and insightful librarians and museum directors can correct this disastrous oversight.

What are museums for? How far should museums shift from their traditional focus on high culture to explore popular culture? How can the passion people feel for popular material culture best be conveyed in displays? In attempting to answer these fundamental questions, Kevin Moore offers a radical critique of existing museum practice, arguing that, in order to have a sustainable future, museums must rise to the challenge of representing popular culture. Drawing on examples (both successful and unsuccessful) of contemporary museum practice, including the V&A's blockbuster shows on David Bowie and Alexander McQueen, and the Saatchi Gallery's Rolling Stones exhibiti, he seeks to unravel the paradox that to reflect popular culture adequately, museums may need to abandon their traditional form.

Contributors to this volume examine and illustrate struggles and collaborations among museums, festivals, tourism, and historic preservation projects and the communities they represent and serve. Essays include the role of museums in civil society, the history of African-American collections, and experiments with museum-community dialogue about the design of a multicultural society.

Museums display much more than artifacts; Museum Culture makes us on a tour through the complex of ideas, values and symbols that pervade and shape the practice of exhibiting today. Bringing together a broad range of perspectives from history, art history, critical theory and sociology, the contributors to this new collection argue that museums have become a central institution and metaphor in contemporary society. Discussing exhibition histories and practice in Western Europe, the former Soviet Union, Israel and the United States, the authors explore the ways in which museums assign meaning to art through various kinds of exhibitions and display strategies, examining the political implications of these strategies and the forms of knowledge they invoke and construct. The collection also discusses alternative exhibition forms, the involvement of some museums with the more spectacular practices of mass media culture, and looks at how museums construct their public.

In the last decade, museums all around the world have been reinventing themselves. They are now much more than scholarly, cultural archives. A remit to reach out to a broader public, the increasing politicization of the ownership and curation of objects, the architectural expectations of new buildings, the requirements of the "event exhibit"...all have changed the way any new museum is built, operates and serves its public purpose. Museums now reflect global economics and local politics. New museums now shape our public culture.Illustrated with a very wide range of museums and museum spaces - from MOMA in New York to the reconstruction of Ground Zero, from the National Museum of the American Indian in Washington DC to the Museo Guggenheim Bilbao, from the planned renewal of the Crystal Palace site in London to the Sendai Mediatheque in Japan - the book reveals how the new museum is evolving as a cross-disciplinary, self-consciously political, and often avowedly self-reflexive institution.

Museums and Popular Culture seeks to unravel the paradox that to adequately reflect popular culture museums may need to abandon their traditional form. This is a book which no one interested in museums can afford to ignore.

Museums, Emotion, and Memory Culture examines the politics of emotion in history museums, combining approaches and concerns from museum, heritage and memory studies, anthropology and studies of emotion. Exploring the meanings and politics of memory contests in Turkey, a site for complex negotiations of identity, the book asks what it means for museums to charge the past with political agendas through spectacular, emotive representations. Providing an in-depth examination of emotional practice in two Turkish museums that present contrasting representations of the national past, the book analyses relationships between memory, governmentality, identity, and emotion. The museums discussed celebrate Ottoman and Early Republican pasts, linking to geo- and party politics, people’s senses of who they are, popular memory culture, and competing national stories and identities vis-à-vis Europe and the wider world. Both museums use dramatic, emotive panoramas as key displays and the research at the heart of this book explores this seemingly anachronistic choice, and how it links with memory cultures to prompt visitors to engage imaginatively, socially, politically and morally with a particular version of the past. Although the book focuses on museums in Turkey, it uses this as a platform to address broader questions about memory culture, emotion, and identity. As such, Museums and Memory Culture should be of great interest to academics and students around the world who are engaged in the study of museums, heritage, culture, history, politics, anthropology, sociology, and the psychology of emotion.

With the question, "What does it mean to show?", the author explores the agency of display in museums and tourist attractions. She looks at how objects are made to perform their meaning by being collected and how techniques of display, not just the things shown, convey a powerful message.

A leading activist museum director explains why museums are at the center of a political storm In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to resign at the Whitney. That is to say nothing of demonstrations against exhibitions and artworks. Protests have roiled institutions across the world, from the Abu Dhabi Guggenheim to the Akron Art Museum. A popular expectation has grown that galleries and museums should work for social change. As Director of the Queens Museum, Laura Raicovich helped turn that New York muni- cipal institution into a public commons for art and activism, organizing high-powered exhibitions that doubled as political protests. Then in January 2018, she resigned, after a dispute with the Queens Museum board and city officials. This public controversy followed the museum’s responses to Donald Trump’s election, including her objections to the Israeli government using the museum for an event featuring Vice President Mike Pence. In this lucid and accessible book, Raicovich examines some of the key museum flashpoints and provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding conservative, capitalist values. And she suggests ways museums can be reinvented to serve better, public ends.