Books: 'Bean Museum'

1

History of the life science museum movement at Brigham Young University: 1900-2008. [Provo, Utah]: Monte L. Bean Life Science Museum, Brigham Young University, 2008.

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2

Stefan, Rebsamen, Kläy Ernst J, and Bernisches Historisches Museum, eds. Historisches Museum Bern. Bern: Kümmerly + Frey, 1985.

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3

The last museum. New York: Grove Press, 1986.

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4

Strange, Joanna. Mr Bean. Harlow, England: Pearson Education, 2008.

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5

Ariese, Csilla, and Magdalena Wróblewska. Practicing Decoloniality in Museums. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463726962.

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The cry for decolonization has echoed throughout the museum world. Although perhaps most audibly heard in the case of ethnographic museums, many different types of museums have felt the need to engage in decolonial practices. Amidst those who have argued that an institution as deeply colonial as the museum cannot truly be decolonized, museum staff and museologists have been approaching the issue from different angles to practice decoloniality in any way they can. This book collects a wide range of practices from museums whose audiences, often highly diverse, come together in sometimes contentious conversations about pasts and futures. Although there are no easy or uniform answers as to how best to deal with colonial pasts, this collection of practices functions as an accessible toolkit from which museum staff can choose in order to experiment with and implement methods according to their own needs and situations. The practices are divided thematically and include, among others, methods for decentering, improving transparency, and increasing inclusivity.

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6

Bern, Kunstmuseum. Wege zur Kunst im Kunstmuseum Bern. Bern: Verl. Der Bund, 1985.

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7

Tavel, Hans Christoph von. Museum of Fine Arts, Berne. Geneva: Banque Paribas (Suisse) in cooperation with the Swiss Institut for Art Research, 1994.

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8

Strange, Joanna. Mr Bean. Harlow: Pearson Education, 2000.

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9

Esters, Museum Haus, and Kunsthalle Bern, eds. Harald Klingelhöller: Museum Haus Esters Krefeld : Kunsthalle Bern, 1988. Krefeld: Krefelder Kunstmuseen, 1988.

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10

Bern, Kunsthalle, ed. Maria Eichhorn: Das Geld der Kunsthalle Bern = Money at the Kunsthalle Bern. Bern: Kunsthalle, 2001.

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11

Bern, Abegg-Stiftung. Treasures of the Abegg-Stiftung. Riggisberg: Abegg-Stiftung, 2004.

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12

Canadian Museum of Contemporary Photography. Beau: A reflection on the nature of beauty in photography. Ottawa: Canadian Museum of Contemporary Photography = Musée canadien de la photographie Contemporaine, 1992.

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13

The Beal Collection of American art. Pittsburgh, Pa: Carnegie Museum of Art, 1994.

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14

A maritime fortress: The collections of the Wynn family at Belan Fort, c. 1750-1950. Cardiff: University of Wales Press, 2001.

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15

Stammers, M. K. A maritime fortress: The collections of the Wynn family at Belan Fort c.1750-1950. Cardiff: University of Wales Press, 2001.

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16

Georg, Germann. Ungarisches im Berhischen Historischen Museum = a Berni Történelmi Múzeum magyar emlékei. Bern: Ungarisch Historischer Verein, 1996.

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17

Flury-Lemberg, Mechthild. Textile conservation and research: A documentation of the Textile Department on the occasion of the twentieth anniversary of the Abegg Foundation. Bern, Switzerland: Abegg Stiftung, 1988.

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18

Huws, Bethan. Bethan Huws: Watercolours : Kaiser-Wilhelm-Museum Krefeld, Kunstmuseum Bern, Oriel Mostyn Art Gallery, Llandudno 1998-1999. Krefeld: Kunstmuseum, 1998.

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19

kunstmuseum, Bergen, Henie-Onstad kunstsenter, and Zentrum Paul Klee, eds. In Paul Klee's enchanted garden: Bergen Art Museum, Henie Onstad Art Centre, Zentrum Paul Klee, Bern. Ostfildern: Hatje Cantz, 2008.

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20

Keller, Harald, and Reiner Wolf. The beat goes on: Der Sound, der Style : Ausstellungskatalog : Museum Industriekultur Osnabrück 2. Juni - 6. Oktober 2013 : Tuchmacher-Museum Bramsche 7. Juni - 8. September 2013. Oldenburg: Isensee, 2013.

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21

1940-, Davison Graeme, and Historic Houses Trust of New South Wales, eds. Sydney views 1788-1888: From the Beat Knoblauch Collection. Sydney, N.S.W: Historic Houses Trust of New South Wales, 2007.

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22

Corò, Paola. Seleucid Tablets from Uruk in the British Museum. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-246-8.

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Between the second half of the 19th century and the first half of the 20th century the British Museum acquired as part of its cuneiform collections 120 economic tablets from Uruk dating to the Seleucid period; they belong to what has been described as “the most spectacular Hellenistic archives available today”. This book offers an analysis of the collection, accompanied by text editions. The approach adopted is to explore the documents in three main thematic sections: arable land, urban properties, and temple prebends. The administrative texts have been treated as a group. Particular attention is paid to the role played by specific families, individuals or groups in each area of interest, as well as to shedding new light on the ownership patterns and business strategies that characterised the activities of the parties to the documents.

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23

Bern, Museum für Kommunikation. Die Liebesdiener: Mittler auf den Baustellen Amors : [Ausstellung im Museum für Kommunikation, Bern, 16. September 1998-17. Januar 1999]. Zürich: Chronos, 1998.

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24

Gober, Robert. Robert Gober: Museum Boymans-Van Beuningen, Rotterdam, 13/5-1/7/90, Kunsthalle Bern, 1/9-14/10/90. Rotterdam: Museum Boymans-Van Beuningen, 1990.

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25

Streuli, Beat. Bondi Beach / Parramatta Road, 1998 ; [27.1.-7.3.1999, Sprengel Museum Hannover] / [Ausstellung und Katalog: Beat Streuli, Thomas Weski ; Übersetzung: Egbert Hörmann]. Hannover: Sprengel Museum, 1999.

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26

Society, LaSalle County Historical. A visit to LaSalle County Historical Society Museum, the Aitken rural schoolhouse, the stone blacksmith shop, and the 1875 post-and-beam barn. Utica, IL (Canal and Mill Sts., P.O. Box 278, Utica 61373): The Society, 2005.

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27

Herbsttagung, Schweizerische Akademie der Geistes und Sozialwissenschaften. Kunstvermittlung zwischen Kommerz, Trend und Verantwortung: Herbsttagung der Schweizerischen Akademie der Geistes- und Sozialwissenschaften, Bern, den 3. November 1995. Bern: Die Akademie, 1995.

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28

Herzogenrath, Bernd, ed. The Films of Bill Morrison. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089649966.

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Avant-garde filmmaker Bill Morrison has been making films that combine archival footage and contemporary music for decades, and he has recently begun to receive substantial recognition: he was the subject of a retrospective at the Museum of Modern Art, and his 2002 film Decasia was selected for the National Film Registry by the Library of Congress. This is the first book-length study of Morrison's work, covering the whole of his career. It gathers specialists throughout film studies to explore Morrison's "aesthetics of the archive"-his creative play with archival footage and his focus on the materiality of the medium of film.

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29

Merkli, Werner. Erinnerungen an das Schweizerische Gutenbergmuseum und das Schweizerische Berufsmuseum für Buchbinderei. Freiburg: Eigenverlag Stiftung Gutenberg, 1993.

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30

A guided tour through the museum of communism: Fables from a mouse, a parrot, a bear, a cat, a mole, a pig, a dog, and a raven. New York: Penguin Books, 2011.

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31

Klee, Paul. Paul Klee: Die Sammlung Bürgi : Kunstmuseum Bern, Hamburger Kunsthalle, Scottish National Gallery of Modern Art, Edinburgh. Bern: Benteli, 2000.

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32

Rey, Virginie, ed. The Art of Minorities. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.001.0001.

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The idea of the museum as a space committed to dialogue and inclusive representation which is paramount to museology in the Global North has had trouble finding ground in the Middle East and North Africa where museums remain—and have mostly been depicted as—the carriers of homogenous national identities, at the expense of cultural and social difference. Research recently undertaken by anthropologists, museum specialists and historians reveal that this monolithic museographic conception of culture is in the process of being challenged. Whilst some public museums in the region have engaged in the reconsideration of the narratives underpinning their collections, the past two decades have also seen a boom in private museum initiatives led by social and cultural minority groups whose experiences have until now been marginalised within, or absent from, state-led exhibitionary practices. This volume discusses the contradictions and opportunities museums have created for minority groups across the Mediterranean basin, from the early twentieth century to the contemporary period. It explores whether museums can provide a suitable canvas for minorities to express their voice, what kind of narratives is articulated, and whether these can challenge cultural and social stereotypes and deploy new kinds of identities.

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33

Brookshaw, Sharon. Presenting Children from the Distant Past in Museums. Edited by Sally Crawford, Dawn M. Hadley, and Gillian Shepherd. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199670697.013.37.

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This chapter discusses the archaeology of childhood from a museum perspective. It presents data from British museums showing that material is held in collections that can evidence the existence and sometimes also the activities of children in the more distant past. Even remains of children themselves, such as ‘Charlie’, the skeleton of a young child on display at the Alexander Keiller Museum, can prove important, particularly for younger visitors to such museums. Some examples of museum displays where children from the deeper past have been included and consideration of the curatorial perspective (how important and relevant do curators of archaeological material consider displaying such material to be? Do they think it is feasible to do so?) will be also be covered.

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34

Caudill, Edward. Creationism’s Web. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038013.003.0008.

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This chapter examines how creationists harnessed websites, magazines, museums, and institutes to rewrite history as well as the rules of science. By the end of the twentieth century, the Scopes trial was no longer a humiliation for creationists but an indignation. Realizing that the problem had been to make any compromise with literalism's naysayers, creationists recast and remythologized Scopes as a lesson, their defining moment in the fight against evolution. This chapter begins with an overview of the Creation Museum, located in Petersburg, Kentucky, and the ministry behind it, Answers in Genesis (AiG), along with AiG's proposed Ark Encounter museum. It then considers AiG's web sites as well as the Discovery Institute's creation of an online guide called Getting the Facts Straight: A Viewer's Guide to PBS's Evolution in response to the PBS seven-part series Evolution. It also discusses the movie Alleged, which addressed the conflict between science and creationism, and concludes with an assessment of the Creation Museum's depiction of Darwinism and interpretation of the Scopes trial.

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35

Edenheiser, Iris, Elisabeth Tietmeyer, and Susanne Boersma, eds. What’s Missing? Dietrich Reimer Verlag, 2020. http://dx.doi.org/10.5771/9783496030430.

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In many museums in Europe that exhibit objects of everyday culture, transformation processes are taking place. Which objects, narratives, methods and actors have been neglected in previous reflections on European ways of life? How can the museum collections find new relevance with regard to contemporary issues and new socio-political contexts? The authors, coming from theory and practice, discuss the change in collection and exhibition policies, combining overview articles and object portraits. Thus, the book encourages to deal with the blind spots in museum work.

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36

United States. National Park Service, ed. Sleeping Bear Point Coast Guard Station Maritime Museum: Sleeping Bear Dunes National Lakeshore. [Washington, D.C.?]: National Park Service, Dept. of the Interior, 1990.

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37

Renzo, Piano, ed. Zentrum Paul Klee, Bern: The architecture. Ostfildern-Ruit: Hatje Cantz, 2006.

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38

Behind The Scenes At The Museum Of Baked Beans. Isis Large Print, 2011.

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39

Stuff Ive Been Reading. Penguin Books Ltd, 2013.

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40

Watson, Nicola J. The Author's Effects. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198847571.001.0001.

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The Author’s Effects: On Writer’s House Museums is the first book to describe how the writer’s house museum came into being as a widespread cultural phenomenon across Britain, Europe, and North America. Exploring the ways that authorship has been mythologized and materialized through the conventions of the writer’s house museum, The Author’s Effects anatomizes the how and why of the emergence, establishment, and endurance of popular notions of authorship in relation to creativity. It traces how and why the writer’s bodily remains, possessions, and spaces came to be treasured in the late eighteenth and nineteenth centuries, as a prelude to the appearance of formal writer’s house museums. It ransacks more than 100 museums and archives to tell the stories of celebrated and paradigmatic relics—Burns’ skull, Keats’ hair, Petrarch’s cat, Poe’s raven, Brontë’s bonnet, Dickinson’s dress, Shakespeare’s chair, Austen’s desk, Woolf’s spectacles, Hawthorne’s window, Freud’s mirror, Johnson’s coffee-pot, and Bulgakov’s stove, amongst many others. It investigates houses within which nineteenth-century writers mythologized themselves and their work—Thoreau’s cabin and Dumas’ tower, Scott’s Abbotsford and Irving’s Sunnyside. And it tracks literary tourists of the past to such long-celebrated literary homes as Petrarch’s Arquà, Rousseau’s Île St Pierre, and Shakespeare’s Stratford to find out what they thought and felt and did there, discovering deep continuities with the redevelopment of Shakespeare’s New Place for 2016

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41

Sandell, Richard, Jocelyn Dodd, and Ceri Jones. Trading Zones. Edited by Paula Hamilton and James B. Gardner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199766024.013.4.

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Because of the determined efforts of disability activists, public historians, and other scholars, the hidden history of disabled people is emerging in the public sphere. Although museums and other cultural institutions hold wide-ranging material in their collections that links to the lives of disabled people, its significance is often underresearched and poorly understood. Although disabled people desire greater visibility, like other groups who have been marginalized or misrepresented, they also want to be involved in the process and empowered to make decisions about their representation. Drawing on insights from research and experimental practice, we suggest that the idea of the “trading zone,” the creation of a space of exchange for collaborative and equitable dialogue, provides a way forward for disabled people to make their voices heard in the museum and for museum staff to confront and develop new ways of incorporating disability history into their collections and displays.

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42

Sevcenko, Liz. Public Histories for Human Rights. Edited by Paula Hamilton and James B. Gardner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199766024.013.7.

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As long as American public historians have been celebrating the idea that museums and historic sites can play a central role in civic life, they have agonized over how this can happen. But in other parts of the world, public histories have emerged as inextricable parts of larger civic projects. Each has developed a different definition of “dialogue,” reflecting different understandings of what democracy looks like. This paper explores three different visions of dialogue that evolved in different national contexts to support different visions of democracy: promoting public discussion of long-suppressed truths; integrating multiple narratives; and dialogue as a model of democratic engagement. Examples include Sites of Conscience like Memoria Abierta in Argentina, the District Six Museum and Constitution Hill in South Africa, and the Gulag Museum in Russia. The chapter concludes with reflections from the first stages of an experiment in international public history, the Guantánamo Public Memory Project.

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43

Gargoylz Magic At The Museum. Red Fox, 2010.

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44

Nationale Schweizerische UNESCO-Kommission. Sektion Kultur., Erklärung von Bern (Organization), and Verband der Museen der Schweiz., eds. Informationstag "Kulturgüter zwischen Markt und Museum": Schlussbericht : Bern, 2. Juli 1993. Bern: Die Kommission, 1993.

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45

Brown, Michele. The Teddy Bear Hall of Fame: A Century of Historic Bears Presented by the Teddy Bear Museum. Headline Book Publishing, 1997.

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46

Brown, Michele. The Teddy Bear Hall of Fame: A Century of Historic Bears Presented by the Teddy Bear Museum. Trafalgar Square Publishing, 1997.

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47

Curtis and Driscoll. Mr. Bean (Penguin Readers, Level 2). Pearson ESL, 2000.

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48

The bead is constant. Accra: Ghana Universities Press, 2003.

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49

The bead trail: Trade beads of the North American frontier : the Bead Museum, March 11, 2004 through May 15, 2005. Glendale, AZ: Bead Museum, 2004.

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50

1928-, Howard Seymour, Natsoulas John, Duncan Robert Edward 1919-, and John Natsoulas Press, eds. The Beat generation galleries and beyond. Davis, Calif: John Natsoulas Press, 1996.

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Books on the topic 'Bean Museum'

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