Museum Media

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

Michelle Henningis 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

Sharon Macdonaldis 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 Sharon Macdonald

Alexander van Humboldt Professor in Social Anthropology

Institute for European Ethnology

Humboldt University of Berlin

Berlin, Germany

Helen Rees Leahyis Professor Emerita of Museology at the University of Manchester, where, between 2002 and 2017 she directed the Centre for Museology. Previously, Helen held a variety of senior posts in UK museums, including the Design Museum, Eureka! The Museum for Children, and the National Art Collections Fund. She has also worked as an independent consultant and curator, and has organized numerous exhibitions of art and design. She has published widely on practices of individual and institutional collecting, in both historical and contemporary contexts, including issues of patronage, display and interpretation. Her Museum Bodies: The Politics and Practices of Visiting and Viewing was published by Ashgate in 2012.

Professor Emerita Helen Rees Leahy

Centre for Museology

School of Arts, Languages and Cultures

University of Manchester

Manchester, UK

Alice Barnaby,University of Bedfordshire, UK

John Bell,University of Maine, USA

Brigitte Biehl-Missal,BSP Business School Berlin Potsdam, Germany

Fiona Candlin,Birkbeck, University of London, UK

Jenny Chamarette,Queen Mary, University of London, UK

Luigina Ciolfi,Sheffield Hallam University, UK

Maeve Connolly,Dún Laoghaire Institute of Art, Design and Technology, Ireland

Rupert Cox,University of Manchester, UK

Steffi de Jong,University of Cologne, Germany

Wolfgang Ernst,Humboldt University, Berlin, Germany

Ivan Gaskell,Bard Graduate Center, New York City, USA

Seth Giddings,Winchester School of Art, University of Southampton, UK

Beryl Graham,University of Sunderland, UK

Bettina Habsburg-Lothringen,Universalmuseum Joanneum, Austria

Beat Hächler,Swiss Alpine Museum, Switzerland

Karin Harrasser,University of Art and Design Linz, Austria

Michelle Henning,University of West London, UK

Peter Higgins,Land Design Studio, UK

Amy Holdsworth,University of Glasgow, UK

Andrew Hoskins,University of Glasgow, UK

Erkki Huhtamo,University of California, Los Angeles, USA

Jon Ippolito,University of Maine, USA

Petra Tjitske Kalshoven,University of Manchester, UK

Nils Lindahl Elliot,independent scholar, UK

Sue Perks,Perks Willis Design, UK

Nancy Proctor,Baltimore Museum of Art, USA

Mark W. Rectanus,Iowa State University, USA

Dirk vom Lehn,King’s College London, UK

Haidee Wasson,Concordia University, Canada

This volume of the International Handbooks of Museum Studies could not have been compiled without the extensive help of Gill Whitley, project manager for Wiley Blackwell, the copy-editor Jacqueline Harvey, and the Handbooks’ editors Sharon Macdonald and Helen Rees Leahy. I would also like to thank Jen Rhodes who was an invaluable research assistant during the early development of the project, and Niall Hoskins, who translated Beat Hächler’s chapter. Both Jen and Niall were funded by the Digital Cultures Research Centre at the University of the West of England, Bristol, and I would like to thank the then director of the center, Professor Jon Dovey, and especially the research administrator, Nick Triggs, for making this possible. The project was also made possible by the research leave I received from the faculty of Arts, Creative Industries and Education at the University of the West of England, and by the support of my ex-colleagues in Media and Cultural Studies. For a long time, this was a wonderfully diverse research and teaching environment in which it was possible to teach classes such as “The Politics of Collecting and Display” along side the history and practice of photography and new media, and to follow the most unusual research paths with encouragement. Although many of us have now gone on to other places and roles, and this tolerant and stimulating environment has changed, it strongly informed my view that museum studies and media studies have interesting things to say to each other. My work on this book was facilitated by the support, understanding, and intellectual companionship of Jane Arthurs, Helen Kennedy, Gillian Swanson, Richard Hornsey, and Rehan Hyder. Above all, this book would have been impossible without the many kindnesses of my partner John Parish, and of my daughters Honor and Hopey Parish. Finally, I am immeasurably grateful to all the contributors, many of whom must have wondered at times if this book would ever actually materialize, for their patience with my editorial lapses and nitpicking, and for their generosity in the production of these chapters. They are academics, artists, curators, exhibition designers, and museum directors, and their chapters are very different but all, I believe, offer fascinating insights into media in the museum, museums’ relationship to different media, and how media concepts inform museum practice.