Chloe Sims at Remote Control, Institute of Contemporary Arts14 10.1 Castaways exhibit, 2007, Whitworth Art Gallery, Manchester
15 10.2 Rupert Cox and Angus Carlyle, Air Pressure, 2012, Whitworth Art Gallery, Manchester
16 10.3 Rupert Cox and Angus Carlyle, Air Pressure, 2012
17 11.1 Louis Vuitton shop window, Paris
18 11.2 Atelier Brückner, BMW Museum, Munich
19 11.3 Menashe Kadishman, Shalechet, Jewish Museum, Berlin
20 11.4a–c Interactional organization of a museum visit
21 13.1 Exterior of Museum of Witchcraft, Boscastle
22 13.2 Stone circle in the Museum of Witchcraft
23 13.3 Cabinet of protective magic, Museum of Witchcraft
24 13.4 Poppets arranged on a protective hagstone, Museum of Witchcraft
25 13.5 The public bar at The Valiant Soldier, Buckfastleigh
26 13.6 Living room at The Valiant Soldier
27 13.7 Exterior of Dartmoor Prison Museum
28 14.1 Exhibition design model of National Maritime Museum Cornwall
29 14.2 Land Venn diagram, showing interrelationship of factors in the design process
30 14.3 UK pavilion, Expo 2005, Aichi, Japan
31 14.4 British Music Experience, Table Talk
32 14.5 Dinobirds, Natural History Museum, London
33 16.1 Self-enactment: the scene at the entrance to A Matter of Belief exhibition
34 16.2 “Believer” or “Nonbeliever” USB sticks
35 16.3 Checkpoint surveying individuals’ belief profiles
36 16.4 Round table finale: visitors assigned to new faith profiles
37 16.5 What does Switzerland believe? Representative objects in A Matter of Belief
38 17.1 The Mirakulosum
39 17.2 The color-mixer
40 18.1a Otto Neurath, 1944
41 18.1b Marie Neurath
42 18.2 Gesellschafts- und Wirtschaftsmuseum, Vienna ca. 1927
43 18.3 Alma Wittlin’s “The Enchanted Loser” from the Transformation Reader
44 18.4 Memo from NHM Archives
45 18.5a Traditional curator/designer model used at the NHM before the New Exhibition Scheme
46 18.5b Neurath’s team model from the Gesellschafts- und Wirtschaftsmuseum
47 18.5c Miles’s post-1975 NES team model
48 18.6 The Hall of Human Biology, ca. 1977, Natural History Museum
49 18.7 “Survival of the Fittest in SW7,” Sunday Times Weekly Review, 1981
50 19.1 Cottage on display at Bunratty Folk Park, Co. Clare, Ireland
51 19.2 The Interactive Desk, Bunratty Folk Park
52 19.3 Sheffield General Cemetery
53 19.4 The Bird Box prototype from sketch to realization
54 19.5 The Binoculars prototype from sketch to realization
55 19.6 The Companion Novel prototype from sketch to realization
56 20.1 Talkaoke at the Barbican Centre, London, 2012
57 20.2 Osman Khan and Omar Khan, SEEN – Fruits of Our Labor, 2006
58 20.3 Rafael Lozano-Hemmer, Pulse Room, 2010, Manchester Art Gallery
59 21.1 Not Here exhibition, as viewed by mobile phone, showing John Cleater’s Sky Pavilions
60 21.2 John Bell, The Variable Museum
61 21.3 Physical marker indicating the presence of an artwork in John Bell’s The Variable Museum
62 21.4 “Feed the Beast” launcher showing mod pack
63 22.1 Home screen of Halsey Burgund’s app, Scapes
64 23.1 BMW Welt, Munich
65 23.2 BMW Museum, Munich
66 23.3 “Going to the Schirn is not art,” Frankfurt
67 24.1 John displays one of his scrimshawed powder horns
68 24.2 Iroquois scouts before re-enactment of a French and Indian Wars skirmish
69 24.3 Mark Dion, Cabinet of Curiosities, Musée Océanographique, Monaco
70 25.1 Hans Holbein the Younger, The Ambassadors, 1533
71 25.2 Return of Leonardo da Vinci’s Mona Lisa to Paris, 1914
72 25.3 Matti Braun’s Gost Log at Arnolfini, Bristol, 2012
EDITOR
Michelle Henning is Professor in Photography and Cultural History in the London School of Film, Media and Design at the University of West London. She is a practicing photographer and designer and has written widely on museums, media, and photography in her books Museums, Media and Cultural Theory (Open University Press, 2006) and Photography: The Unfettered Image (Routledge 2018) as well as in numerous collections.
Michelle Henning London School of Film, Media and Design University of West London London, UK
GENERAL EDITORS
Sharon Macdonald is Alexander van Humboldt Professor in Social Anthropology at the Humboldt University Berlin where she directs the Centre for Anthropological Research on Museums and Heritage – CARMAH. The centre works closely with a wide range of museums. Sharon’s edited and coedited volumes include the Companion to Museum Studies (Blackwell, 2006), Exhibition Experiments (with Paul Basu; Blackwell, 2007), and Theorizing Museums (with Gordon Fyfe; Blackwell, 1996). Her authored books include Behind the Scenes at the Science Museum (Berg, 2002), Difficult Heritage: Negotiating the Nazi Past in Nuremberg and Beyond (Routledge, 2009), and Memorylands: Heritage and Identity in Europe Today (Routledge, 2013). Her current projects include Making Differences: Transforming Museums and Heritage in the 21st Century.
Professor
