"Academic museums have proliferated over the past fifty years and yet they are often misunderstood, even neglected by their primary constituency - the students and faculty of their host universities or colleges. This series is a vital resource for anyone working in or concerned about such museums. It will become the standard text for generations to come." James Cuno, President & CEO, The J Paul Getty Trust. "Academic museums are a means through which the academy can engage with the community, both local and national, to allow society to gain access to knowledge - A Handbook for Academic Museums demonstrates how this is made possible." Kate Pretty, Deputy Vice-Chancellor, University of Cambridge. "The many fine essays contained in this useful handbook broadly represent the rich range of activity and thought presently underway throughout the world of higher education and will delight all readers." Jock Reynolds, The Henry J Heinz II Director, Yale University Art Gallery.
A church art exhibition turns deadly . . .
An overdue study of a groundbreaking event, this is the first book-length examination of the Manchester Art Treasures Exhibition of 1857. Intended to rehabilitate Manchester's image at a heady time of economic prosperity, the Exhibition became a touchstone for aesthetic, social, and economic issues of the mid-nineteenth century. Reverberations of this moment can be followed to the present day in the discipline of art history and its practice in public museums of Europe and America. Highlighting the tension between art and commerce, philanthropy and profit, the book examines the Exhibition's organization and the presentation of the works of art in the purpose-built Art Treasures Palace. Pergam places the Exhibition in the context of contemporary debates about museum architecture and display. With an analysis of the reception of both "Ancient" and "Modern" paintings, the book questions the function of exhibitions in the construction of an art historical canon. The book also provides an essential reference tool: a compiled list of all of the paintings exhibited in 1857 that are now in public collections throughout the world, with an analysis of the collecting trends manifest in their provenance.