JCU Logo


COURSE NAME: "Collection Building and Museum Studies"
SEMESTER & YEAR: Fall 2023

INSTRUCTOR: Sarah Linford
EMAIL: [email protected]
HOURS: MW 1:30 PM 2:45 PM
PREREQUISITES: Prerequisite: One previous course in Art History

The course explores what we do with “culturally significant” objects and why. It examines the histories and meanings of ownership, collecting and display in private and especially public venues. Thematically chosen case-studies from a variety of periods and places investigate how knowledge, values and power are constructed through classification and display. The course considers antecedents and alternatives to the modern museum. It examines current debates
about the functions, practices and ethics of cultural institutions by drawing on the disciplines of art history, art and design, communications, artistic and literary criticism, cultural criticism, anthropology, sociology, cultural and intellectual history, politics, international affairs, economics and, especially, “museum studies.”

The circulation of cultural goods in private and public spheres is as old as are goods themselves. Case studies from the Ancient world and the Western Middle Ages address these pre-museal forms of display, including the looting, venerating, and reusing of objects. The varieties of private collections in the age of Humanism, then of Reason (and of classical economics) introduce an idea that will be central to this course: displayed collections are narratively structured. This leads us to consider how art museums participate in the social and cultural ideologies of those who construct, finance, work for and visit them in the modern and contemporary eras. Ultimately, we challenge both the modern (art) museum’s claim that its objects and messages are “truthful,” and recent attempts to abandon master narratives. Contemporary debates surrounding the issues of authenticity, availability and identity inform our study of today’s catch-phrases: experience, immediacy, globalism, decolonization. The course combines historical and theoretical analyses from the onset. The latter part of the course, however, is intended to awaken students to  how even the “nuts and bolts” of working in the cultural industries must be informed by critical museology.

  • Understand collecting practices and cultural institutions as art historical, political,
  • Anthropological, sociological, spatial/architectural 
  • Financial entities and the economoics of culture
  • Ability to “read” museums as socially constructed and culturally constructing
  • Familiarity with the history of collecting, museums and critical museum practice
  • Ability to view museum practice as shaped by multiple contexts, stakeholders, users and disciplines
  • Ability to enquire into the power of cultural institutions to shape how varied publics understand their world
  • Introduction to work in the industries/sectors of museums, galleries, auction houses and cultural heritage


ParticipationParticipation is essential to this course. This means: doing the readings and contributing to class discussions.5
MIDTERM EXAMINATIONAnalytical essays on topics discussed in the course.25
RESEARCH PRESENTATIONA 15-minute presentation of your research topic and question (with slides, full bibliography and specific research question). Research topics and their bibliographies must be approved by the Professor by week 10. Submit these as a Word document using Turnitin portal on Moodle course site. Powerpoint presentation must be emailed to Professor at least 24 hours before presenting. In-class oral research presentations are given week 13.20
FINAL, RESEARCH PAPERA seven- to ten-page critique (minimum 2,000 words; maximum 3,000 words excluding footnotes and bibliography in Chicago style format) of a well-documented historical exhibition or Professor-approved gallery installation. Due week 14. Submit as a Word document using Turnitin portal on Moodle course site. 25
FINAL EXAMINATIONAnalytical essays on topics discussed in the course.25

AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.


Attendance is mandatory.  See detailed schedule for days, times, including an onsite lecture.

As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.


Week 1


What are “museum studies” and how is this field different from traditional museography? 



Typology of institutions, basic technical vocabulary (from labels to deaccessing). At the intersection of disciplines: the emergence of the field of “museum studies.”


Week 2


How is the polysemy of any given object focused to serve a specific narrative? How, in turn, do overarching narratives marshall goods? What rhetorical or other strategies give us basic tools to start analyzing the object’s reduction to “sign”?



Looting, circulating, venerating, representing, consuming: Case studies from the Ancient world and the Western Middle Ages; varieties of private collections before the modern “museum.” (Case studies: Roman fora, Mummius, House of the Vettii, sainte Chapelle, Cluny)


Week 3


Cabinets of curiosities, Wunderkammern, anatomical theaters, apothecaries' shops and alchemical workshops, collections of monsters, rarities and exotic specimens, antiquities and theaters of machines: varieties of paradigms of Early Modern knowledge and power. (Case studies: Imperato, Aldrovandi, Gessner, Ferdinand II, Rudolf II, Ole Worm, Kircher, Cospi, Pope Paul II, Sixtus IV, the Medici, Borromeo, Pope Julius II, François I, Henry IV,  Louis XIV Lotto, Colonna, Mazarin) 



Antiquarianism, the Enlightenment; ordering knowledge as ordering the world. The impossibility of neutrality. (Case studies: Ashmoleon, Encylopédie, Capitoline, Teylers, Louvre, Konst-Gallerij)


Week 4


From ordering to classifying; exhibition narrative as “performative” display. (Case studies: Piranesi, Quatremère de Quincy, Du Sommerard, Antique cast collections in Academies of Fine Arts, San Luca, Alsatian ecomuseum)



Collection and display as nation-building; elitism, ritual and education (Case studies: National Galleries of London and Washington; Louvre; New Delhi)



Orientalism, Primitivism, the “ethnic” arts and global art history (Case studies: Bhabha on “Circa 1492” exhibition, Musée des arts premiers/du Quai Branly; MoMA “Primitivism in 20th-c art. Affinities of the Tribal and the Modern”)


Week 5


Decolonizing the museum; identity politics (Case studies: Baltimore Museum of Art; Yerba Buena, Musée national de l'histoire de l’immigration; Spivak/Kapoor; Tate and the Finkbeiner test)



Rewriting history, rerouting memory (Case studies: Prada exhibitions of art under Fascism; the Musée d’Orsay debates; MAXXI’s “Istanbul. Passion. Joy. Fury” )



Reifying high modernism(s): the “white cube” then and now. (Case studies: MoMA before midtown, Prada, Fendi, Breuer, Whitney) 


Week 6





Week 7 


From master narratives to relativism (Case studies: Tate, GNAM, Pompidou, MoMA)


7.2 and 7.3 (double class, from 11am to 1:45pm) REQUIRED ON-SITE VISIT 

to the National Gallery of Modern Art (GNAM) to see ahistorical hanging of permanent collection. Bring pen and paper, JCU card and ID. Meet at 11am sharp on the steps of the museum, located: Viale delle Belle Arti 131 (https://www.google.com/maps/place/National+Gallery+of+Modern+and+Contemporary+Art/@41.917042,12.482169,15z/data=!4m5!3m4!1s0x0:0x2cf2aafd0eff0128!8m2!3d41.9168594!4d12.4819924)


Week 8

8.1.  MONEY

Cultural capital and economic capital. Local, regional, national funding. “Cultural heritage.” Public and private, hybrid. (Case studies: Torlonia/Capitolini, Beni Culturali, Réunion des musées nationaux, National Endowment for the Arts, Arts Council of Great Britain)



Economies of art public and private. Income streams from embassy exhibitions to merchandising. Price fixing and collusion; leveraging; greenwashing corporations; cryptocurrencies.  (Case studies: Vittoriano, Christie’s/Sotheby’s, Annie Leibovitz, Sackler, Banksy, Hirst and NFTs )


Week 9


Contemporary art in historical collections, against the “museal” (Case studies: Birmingham, Palazzo Massimo, Louvre, Museo Canonica)



The Museum without Walls and the return of the universal museum; from “cultural capital” to “cultural experience” (Case studies: Malraux’s ministry, the Met, Tate Britain and Tate Modern, MAXXI)


Week 10


Destination museums, education and community-building. (Case studies: Bilbao, Dia Beacon, Marfa, PS1, Amsterdam Museum “Transmission”, Glasgow outreach)



Museum-writing: labels, object files, press releases, art history "versus" art criticism.

From floor plans and renderings to condition reports; insurance; suppliers: working critically.


Week 11


Is there a difference between mounting a “historical” exhibition and one with (a) living artist(s)? (Case studies: 500 years of San Luigi dei francesi, MoMA “Modern Starts”, NGA Washington “A Century of Drawing”, 350 years of Italo-French artistic exchange exhibition) 



Working with living artists: work-flows and ethics; “radical pedagogy” (Case studies: “B e C”, “Kim Steele”, “Choses de Prix”, “FJC”)


Week 12


A compare and contrast of actors and decision-dakers (Case studies: d12 to d15, Paris Photo, Art Basel, Frieze(s), Buren, Szeeman, Obrist, Gagosian empire)



Week 13






Week 14



Final research paper due by start of class.


Final exam




Alpers, Svetlana, “The Museum as a Way of Seeing,” in Ivan Karp and Steven D.Lavine, eds., Exhibiting Cultures. The Poetics and Politics of Museum Display Smithsonian Press, 1991: 25-32. (AM151 .E94 1991)

Alsop, Joseph. The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever These Have Appeared. Harper and Row, 1982: 68-85. (N5200 .A4 1982)

Altshuler, Bruce. The Avant-Garde in Exhibition: New Art in the Twentieth Century. UC Press, 1998. (ILL)

Altshuler, Bruce. Biennials and Beyond. Exhibitions that Made Art History, Volume II: 1962-2002. Phaidon Press, 2013. (ILL)

Altshuler, Bruce, ed. Collecting the New: Museums and Contemporary Art. Princeton, 2005. (eBook)

Altshuler, Bruce. Salon to Biennial. Exhibitions That Made Art History, Volume I: 1863-1959. Phaidon, 2008 (ILL)

Altshuler, Bruce. “Tate Modern: a museum for our times”, The Art Newspaper, June 15, 2016: (JStor)

Altshuler, Bruce. “The Met gets a second chance to get contemporary art right”, The Art Newspaper, April 2016: (J-Stor)

Ames, Michael. Cannibal Tours and Glass Boxes: The Anthropology of Museums. UBC Press, 2014. (eBook)

Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. University of Minnesota Press, 1996. (HM101.A644 and eBook)

Aranda, Julieta, et al. Avant-Garde Museology. Edited by Arseniy Zhilyaev, 2015. (eBook)

Arts, Wilhelmus Antonius. Through a Glass, Darkly: Blurred Images of Cultural Tradition and Modernity Over Distance and Time. Brill, 2000. (eBook)

Barker, Emma. Contemporary Cultures of Display. Yale, 1999. (N6490 .C65673)

Baverstock, Alison. How to Get a Job in a Museum or Art Gallery. 2010. (Moodle)

Belting, Hans; Buddensieg, Andrea, eds. The Global Art World: Audiences, Markets, and Museums. Hatje Cantz, 2009. (eBook)

Belting, Hans; Buddensieg, Andrea;Weibel, Peter, eds. The Global Contemporary and the Rise of New Art Worlds. MIT, 2013. (ILL)

Belk, Russell W. Collecting in a Consumer Society. Routledge, 2001 (1995). (ILL)

Belting, Hans et al., eds. The Global Contemporary and the Rise of New Art Worlds. ZKM/Center for Art and Media, 2013. (ILL)

Bennett, Tony. The birth of the museum: history, theory, politics. Routledge, 1995. (Moodle)

Bennett, Tony. Pasts Beyond Memory: Evolution, Museums, Colonialism (Museum Meanings). 2004. (Moodle)

Berman, Judith. “Bad Hair Days in the Paleolithic: Modern (Re)Constructions of the Cave Man.” American Anthropologist, Vol. 101, No. 2 (Jun., 1999): 288-304. (J-Stor)

Bertron, Aurelia; Schwarz, Ulrich; Frey, Claudia. Designing Exhibitions: Kompendium für Architekten, Gestalter und Museologen A Compendium for Architects, Designers and Museum Professionals (English and German Edition). Birkhäuser Architecture, 2002. (Moodle)

Bourdieu, Pierre; Darbel, Alain; Schnapper, Dominique. The Love of Art: European Art Museums and Their Public. Polity Press, 1997. (Moodle)

Bredekamp, Horst. The Lure of Antiquity and the Cult of the Machine.The Kunstkammer and the Evolution of Nature, Art and Technology. Markus Wiener, 1995. (1010 .B741)

Buskirk, Martha. Creative Enterprise: Contemporary Art between Museum and Marketplace. Continuum International Publishing, 2012. (Moodle)

Byrne, Sarah; Clarke, Anne; Harrison, Rodney; Torrence, Robin; Byrne, Sarah; Clarke, Anne; Harrison,

Rodney; Torrence, Robin. Unpacking the Collection: Networks of Material and Social Agency in the Museum. Springer-Verlag New York, 2011. (Moodle)

Cameron, Fiona; Kenderdine, Sarah. Theorizing Digital Cultural Heritage: A Critical Discourse. MIT Press, 2007 (eBook)

Carbonell, Bettina Messias. Museum Studies : An Anthology of Contexts. Blackwell, 2004. (JCU reserve)

Carrier, David. Museum Skepticism. A History of the Display of Art in Public Galleries. Duke University Press, 2006. (N430 .C37)

Clifford, James. The Predicament of Culture. Twentieth-Century Ethnography, Literature, and Art. Harvard University Press, 1988. (ILL)

Coolidge, John. Patrons and Architects - Designing American Museums in the Twentieth Century. Fort Worth: The Amon Carter Museum, 1989. (ILL)

Coombes, Annie. “Temples of Empire: The Museum and its Publics,” and “Containing the Continent: Ethnographies on Display,” in Reinventing Africa: Museums, Material Culture and Popular Imagination, Yale University Press, 1994: 109-160. (ILL)

Crew, Spencer; Sims, James, “Locating Authenticity: Fragments of a Dialogue,” in Ivan Karp and Steven D. Lavine, eds., Exhibiting Cultures. The Poetics and Politics of Museum Display, Smithsonian Press, 1991: 159-175.(Moodle and AM151 .E94 1991)

Crimp, Douglas. “The End of Art and the Origin of the Museum.” Art Journal, vol. 46, no. 4, 1987: 261–266. (J-Stor)

Crimp, Douglas; Lawler, Louise. On the Museum's Ruins. MIT Press, 1993.(N420 .C75) Crooke, Elizabet. Museums and Community: ideas, issues and challenges (Museum Meanings). 2008. (Moodle)

Cuno, James. “Against the Discursive Museum.” In Noever, Peter, ed. The Discursive Museum. Vienna: MAK; repr. U Michigan 2009, pp. 44-57 (ILL)

Cuno, James. “View from the Universal Museum.” In John Merryman, ed., Imperialism, Art and Restitution. Cambridge University Press, 2006. (ILL)

Cuno, James Whose Muse - Art Museums and the Public Trust. Princeton University Press, 2003. (ILL)

Cuttle, Christopher. Lighting for Artworks and Museum Displays. Butterworth-Heinemann, 2007 (Moodle)

Danto, Arthur. “Artifact and Art.” ART/Artifact: African Art in Anthropology Collections. New York: Center for African Art, 1988. (ILL)

Dean, David. Museum Exhibition (Heritage: Care-Preseravtion-Management). 1996. (Moodle)

Dicks, Bella. Culture on Display: The Production of Contemporary Visitability. Open University Press, 2004. (eBook)

Dubin, Steven. Displays of Power: Memory and Amnesia in the American Museum. New York University Press, 1999 (ILL)

Duncan, Carol. Civilizing Rituals--Inside Public Art Museums. London and New York: Routledge, 1995. (eBook)

Earle, Joe. “The Taxonomic Obsession: British Collectors and Japanese Objects 1852-1986.” The Burlington Magazine, 128 (December 1986): 863-873 (J-Stor)

Fahy, Anne. Collections Management (Leicester Readers in Museum Studies). 1994. (Moodle) Findlen, Paula. “Inventing Nature: Commerce, Art, and Science in the Early Modern Cabinet of Curiosities,” in Merchants and Marvels: Commerce, Science, and Art in Early Modern Europe, Pamela Smith and Paula Findlen, eds., Routledge, 2002: 292-323 (ILL)

Fisher, Philip. Making and Effacing Art: Modern American Art in a Culture of Museums. Oxford University Press, 1991 (ILL)

Foster, Allen; Rafferty, Pauline, eds. Managing Digital Cultural Objects: Analysis, Discovery and Retrieval. Facet Publishing, 2016. (eBook)

Fuglerud, Øivind, and Leon Wainwright. Objects and Imagination: Perspectives on Materialization and Meaning. Berghahn Books, 2015. (eBook)

Geertz, Clifford. “Art as a Cultural System.” Local Knowledge. Basic Books, 1983: 94-120. (Moodle)

Goldwater, Robert. “Art History and Anthropology: Some Comparisons of Methodology.” in Anthony Forge, ed., Primitive Art and Society. Oxford University Press, 1973 (ILL)

Goodwin, H. “Accessibility and Education in Museums.” New England Museums Now, 2, 1, 2015. (JCU Discovery)

Green, Charles; Anthony Gardner. Biennials, Triennials, and Documenta: The Exhibitions That Created Contemporary Art. John Wiley & Sons, 2016. (eBook)

Greenberg, Reesa, et al. Thinking About Exhibitions. Routledge, 1996. (N4395 .T55)

Grunenberg, Christoph. “The Modern Art Museum.” In Barker, Emma ed. Contemporary Cultures of Display. Yale University Press, 1999: 26-49. (Moodle and reserve)

Harris, Jonathan. The Global Contemporary Art World. John Wiley & Sons, 2017. (eBook)

Hein, George. Learning in the Museum (Museum Meanings). 1998. (Moodle)

Hein, Hilda. “Museums: From Object to Experience,” in Carolyn Korsmeyer, ed., Aesthetics: The Big Questions, Blackwell, 1998: 103-115. (Moodle*)

Henning, Michelle. Museums, Media and Cultural Theory. Open University Press, 2006. (eBook)

Hooper-Greenhill, Eilean. Museums and Education in the 21st Century (Museum Meanings). 2007. (Moodle)

Hooper-Greenhil. Museum, Media, Message (Museum Meanings). 1999. (Moodle)

Hooper-Greenhil. Museums and the Shaping of Knowledge (The Heritage Care Preservation Management). Routledge, 1992. (Moodle)

Hooper-Greenhill, Eilean. Museums and Their Visitors. Routledge, 1994. (eBook)

Hudson, Kenneth. Museums of Influence. Cambridge University Press, 1987 (ILL)

Impey, Oliver; MacGregor, Arthur, eds. The Origins of Museums: The Cabinet of Curiosities in Sixteenth and Seventeenth-century Europe. Oxford University Press, 1985. (ILL)

Jensen, Lotte, et al. Free Access to the Past: Romanticism, Cultural Heritage and the Nation. Brill, 2010. (eBook)

Karp, Ivan; Lavine, Steven, eds., Exhibiting Cultures. The Poetics and Politics of Museum Display, Smithsonian Press, 1991: 159-175. (AM151 .E94 1991)

Keene, Suzanne. Fragments of the World: Uses of Museum Collections. Butterworth-Heinemann, 2005. (Moodle)

Kemp, Christopher, “Museums: The Endangered Dead.” Nature, Vol. 518 (19 Feb. 2015): 292-294. (JCU Discovery)

Knell, Simon. Museums and the Future of Collecting. Routledge, 2017. (Moodle)

Knell, Simon. Museums in the Material World (Leicester Readers in Museum Studies). 2007. (Moodle)

Knell, Simon; MacLeod, Suzanne; Watson, Sheila. Museum Revolutions: How museums change and are changed. Routledge, 2007. (Moodle)

Lang, Caroline; Reeve, John; Woollard, Vicky. The Responsive Museum: Working With Audiences in the Twenty-first Century. 2006 (Moodle)

James Whose Muse - Art Museums and the Public Trust. Princeton University Press, 2003: 129-150. (ILL)

Luke, Timothy. Museum Politics: Power Plays at the Exhibition. University of Minnesota Press, 2002. (Moodle)

Lumley, Robert. The Museum Time Machine: Putting Cultures on Display. 1988. (Moodle)

Macdonald, Sharon. A Companion to Museum Studies. John Wiley & Sons, 2007. (eBook)

Macdonald, Sharon, “Exhibitions of Power and Powers of Exhibition. An Introduction to the Politics of Display.” In Sharon Macdonald, ed., The Politics of Display: Museums, Sciences, Culture Routledge, 1998:1-17.(ILL)

Macdonald, Sharon; Leahy, Helen Rees, editors. The International Handbooks of Museum Studies. John Wiley & Sons, 2015. (eBook)

Macleod, Suzanne; Hourston Hanks, Laura; Hale, Jonathan. Museum Making: Narratives, Architectures, Exhibitions. Routledge, 2012. (Moodle)

MacLeod, Suzanne. Reshaping Museum Space. Unknown, 2005. (Moodle)

Mainardi, Patricia. “Repetition and Novelty: Exhibitions Tell Tales.” in Charles W. Haxthausen, ed. The Two Art Histories. Sterling and Francine Clark Art Institute, 2002: 81-86 (ILL)

Maleuvre, Didier. Museum Memories: History, Technology, Art (Cultural Memory in the Present). Stanford University Press, 1999. (Moodle)

Marstine, Janet. New Museum Theory and Practice: An Introduction. 2005. (Moodle)

McClellan, Andrew. The Art Museum from Boullée to Bilbao. University of California Press, 2008. (Moodle)

McClellan, Andrew. Art and Its Publics: Museum Studies at the Millennium (New Interventions in Art History). Wiley-Blackwell, 2003. (Moodle)

Mclean, Fiona. Marketing the Museum (Heritage: Care-Preservation-Management). 1997. (Moodle)

Merriman, Nick. “Museum Visiting as a Cultural Phenomenon.” In Peter Vergo, ed. The New Museology. London: Reaktion Books, 1989: 149-171. (reserve AM7 .N48 1989)

Miles, Roger. Towards the Museum of the Future: New European Perspectives (The Heritage: Care-Preservation-Managemnent). 1994 (Moodle)

Miller, Toby. Greenwashing Culture. Routledge, 2018. (eBook)

Molesworth, Helen. “The Kids are always right. Helen Moleworth on the reinstallation of the permanent collection at the New York MoMA.” Artforum International, January 2020: (J-Stor https://www.artforum.com/print/202001/helen-molesworth-on-the-reinstallation-of-the-permanent-collection-81623)

Mordhorst, Camilla “The Exhibition Narrative in Flux.” Museological Review, 8 (2002): 1-20. (J-Stor)

Noever, Peter, ed. The Discursive Museum. Vienna: MAK; repr. University of Michigan 2009.(ILL or TBO ISBN 9783775711401)

O’Doherty, Brian et al. Studio and Cube : on the relationship between where art is made and where art is displayed. Columbia, 2007. (eBook)

O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space, UC Press, 1999. (N7430.7 .O36)

O’Neill, Paul. The Culture of Curating and the Curating of Culture(s). MIT Press, 2012. (N4396 .O54 2012)

Parry, Ross. Recoding the Museum. Digital Heritage and the Technologies of Change (Museum Meanings). 2007. (Moodle)

Pearce, Susan. Interpreting Objects and Collections (Leicester Readers in Museum Studies). Routledge, 1994. (Moodle)

Pearce, Susan. Museums, Objects, and Collections: A Cultural Study. Smithsonian, 1992. (ILL or TBO ISBN-13: 978-1560983309)

Pearce, Susan. “Collecting as Medium and Message,.” In Hooper-Greenhill, Eilean ed., Museum, Media, Message. Museum Meanings. Routledge, 1995: 15-23. (Moodle)

Peers, Laura; Brown, Alison. Museums and Source Communities: A Routledge Reader. Routledge, 2003. (eBook)

Preziosi, Donald; Farago, Claire, eds, Grasping the World: The Idea of the Museum. Ashgate: 2004.(TBO)

Ravelli, Louise. Museum Texts: Communication Frameworks. Routledge, 2006. (Moodle)

Roberts, Lisa, From Knowledge to Narrative. Educators and the Changing Museum, Smithsonian Institution Press, 1997.(Moodle)

Rose-Greenland, Fiona. “The Parthenon Marbles As Icons of Nationalism in Nineteenth-Century Britain.” Nations and Nationalism, vol. 19, no. 4, 2013, pp. 654–673., doi:10.1111/nana.12039. (J-Stor)

Sandell, Richard. Museums, Society, Inequality (Museum Meanings). Routledge, 2002. (Moodle)

Schjeldahl, Peter. “Les Drippings in Paris: The Jackson Pollock Retrospective.” In Schjeldahl, Peter, and MaLin Wilson-Powell, The Hydrogen Jukebox : Selected Writings of Peter Schjeldahl, 1978-1990. UC Press, 1993: 109-113. (eBook)

Schjeldahl, Peter; Wilson-Powell, M..“Exxon Exhibition at the Guggenheim,” in The Hydrogen Jukebox : Selected Writings of Peter Schjeldahl, 1978-1990. UC Press, 1993: 70-71. (eBook)

Schjeldahl, Peter, “The Global Salon,” New Yorker, July 1, 2002. (PER NEWY)

Schlereth, Thomas, “Collecting Ideas and Artifacts: Common Problems of History Museums and History Texts,” in Bettina Messias Carbonell, ed., Museum Studies: An Anthology of Contexts. Blackwell, 2004: 335-347. (JCU reserve)

Shaw, Wendy. Possessors and Possessed: Museums, Archaeology, and the Visualization of History in the Late Ottoman Empire. UC Press, 2003.(eBook)

Sherman, Daniel and Rogoff, Irit, eds. Museum Culture. Histories Discourses and Spectacles. Routledge, 1994. (Moodle)

Stocking, George, ed. Objects and Others: Essays on Museums and Material Culture. Universityof Wisconsin Press, 1988. (eBook)

Storr, Robert, “To Have and to Hold.” In Collecting the New: Museums and Contemporary Art, Princeton University Press, 2005: 29-40. (eBook)

Todd, Laura May. “Fondazione Prada recreates art shows held under the rise and fall of fascist Italy.” Wallpaper, March 2018. (https://www.wallpaper.com/art/fondazione-prada-art-exhibitions-fascist-italy)

Trant, J.“When all You’ve Got is “The Real Thing”: Museums and Authenticity in the Networked World,” Archives and Museum Informatics 12, 1998: 107-125. (JCU Discovery)

Truettner, William. “A Case for Active Viewing.” In Charles W. Haxthausen, ed. The Two Art Histories. Sterling and Francine Clark Art Institute, 2002:102-112.(ILL)

Vergo, Peter, ed. The New Museology. Reaktion Books, 1989 (JCU reserve)

Wallach, Alan. Exhibiting Contradiction: Essays on the Art Museum in The United States.

Amherst: The University of Massachusetts Press, 1998. (Moodle)

Wechsler, Lawrence. Mr Wilson’s Cabinet of Wonder. Pronged Ants, Horned Humans, Mice on Toast, and Other Marvels of Jurassic Technology. Vintage Books, 1995. (ILL)

Weibel, Peter, et al. Contemporary Art and the Museum: A Global Perspective. Hatje Cantz, 2007. (ILL)

Witcomb, Andrea. Re-Imagining the Museum: Beyond the Mausoleum. Routledge, 2004. (Moodle)