Exhibiting the Archive examines the role that exhibition plays in archives and analyses the impact they are understood to have on how users and visitors experience the archive. Drawing on research conducted in Europe, North America and Australia, the book analyses the key theoretical and social influences on exhibition-making in archives today and discusses the role of exhibitions in the archives of tomorrow. This is the first in-depth study to consider exhibition as more than outreach or advocacy: it frames exhibition as an encounter with archives and with people, and interprets it as a mechanism for change within the archive. Against a backdrop of increasing digital activity, Lester asks what experience within the physical space of the archive could be. Drawing on ideas of spatiality and embodiment, as well as social justice and activism, Lester considers the role of exhibitions within the physical archive and the part they can play in reshaping how experience is understood to happen within it. Exhibiting the Archive offers a new perspective on the archive that will be of interest to academics and students engaged in the study of archives and records. The discussions of cutting-edge practice offer new insights into how exhibitions are conceived and made, and will therefore be of interest to practitioners around the world.

AHL Foundation and Korean Cultural Service of New York are proud to present some materials from the Archive of Korean-American Artists (AKAA). Korean artists such as Whanki Kim (1913-1974), John Pai (b. 1937), Nam June Paik (1932-2006) and Po Kim (b. 1917) started to settle down in New York in the 1960s while a large number of artists arrived here to study at various MFA programs in the 1980s. Byron Kim, Y. David Chung, Ik-joong Kang, Theresa Hak Kyung Cha and many talented young Korean-American artists lived and worked in New York in the 1980s. This exhibition catalogue presents a group of the first generations who set up their studios in the greater New York area in the 1960s to the 1980s. This exhibition catalogue of Coloring Time includes scholarly essays along with documents, photographs, drawings, and sketches of Korean-American artists as well as their early works classified into five themes in order to show a creative journey of Korean contemporary art transplanted in the US.

This standard establishes criteria to minimize the effect of environmental factors on deterioration of library and archival materials on exhibit. Specific parameters are recommended for exposure to light, relative humidity, temperature, gaseous and particulate contaminats, display techniques, and case and support material components. The standard is intended as a guide for librarians, archivist, exhibition designers, and others involved in preparing library and archival materials for exhibition.

With new technologies and additional goals driving their institutions, archives are changing drastically. This book shows how the foundations of archival practice can be brought forward to adapt to new environments—while adhering to the key principles of preservation and access. Archives of all types are experiencing a resurgence, evolving to meet new environments (digital and physical) and new priorities. To meet those changes, professional archivist education programs—now one of the more active segments of LIS schools—are proliferating as well. This book identifies core archival theories and approaches and how those interact with major issues and trends in the field. The essays explore the progression of archival thinking today, discussing the nature of archives in light of present-day roles for archivists and archival institutions in the preservation of documentary heritage. Examining new conceptualizations and emerging frameworks through the lenses of core archival practice and theory, the book covers core foundational topics, such as the nature of archives, the ruling concept of provenance, and the principal functions of archivists, discussing each in the context of current and future environments and priorities. Several new essays on topics of central importance not treated in the first edition are included, such as digital preservation and the influence of new technologies on institutional programs that facilitate archival access, advocacy, and outreach; the changing legal context of archives and archival work; and the archival collections of private persons and organizations. Readers will also learn how communities of various kinds intersect with the archival mission and how other disciplines' perspectives on archives can open new avenues.

"The book challenges the common view that the Exhibition symbolized peace, progress, prosperity, and the emergence of an industrial middle class. Auerbach suggests instead that the Great Exhibition became a cultural battlefield on which proponents of different visions of industrialization, modernization, and internationalism fought for ascendancy in the struggle for a new national identity."--BOOK JACKET.

Restoring a gifted art photographer to his place in the American canon and, in the process, reshaping and expanding our understanding of early 20th-century American photography Clarence H. White (1871–1925) was one of the most influential art photographers and teachers of the early 20th century and a founding member of the Photo-Secession. This beautiful publication offers a new appraisal of White’s contributions, including his groundbreaking aesthetic experiments, his commitment to the ideals of American socialism, and his embrace of the expanding fields of photographic book and fashion illustration, celebrity portraiture, and advertising. Based on extensive archival research, the book challenges the idea of an abrupt rupture between prewar, soft-focus idealizing photography and postwar “modernism” to paint a more nuanced picture of American culture in the Progressive era. Clarence H. White and His World begins with the artist’s early work in Ohio, which shares with the nascent Arts and Crafts movement the advocacy of hand production, closeness to nature, and the simple life. White’s involvement with the Photo-Secession and his move to New York in 1906 mark a shift in his production, as it grew to encompass commercial portraiture and an increasing commitment to teaching, which ultimately led him to establish the first institutions in America to combine instruction in both technical and aesthetic aspects of photography. The book also incorporates new formal and scientific analysis of White’s work and techniques, a complete exhibition record, and many unpublished illustrations of the moody outdoor scenes and quiet images of domestic life for which he was revered.

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