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This book tells the previously untold stories of six major art thefts at the Metropolitan Museum of Art New York, written by its former Chief Security Officer, John Barelli. Reader will be taken into the loading docks and curatorial offices, to the Temple of Dendur and the American Wing and its magnificent Engelhard Courtyard, the majestic Main Hall where the author stood opening many mornings as the world poured in, the Astor Courtyard and the Valez Blanco Patio. In the museum's Arms and Armor department the author will point out that museum staff helped create the helmets that our soldiers used in World War, he'll share with readers what happen to the coins in the museum's fountains. At the heart of this book there will always be art-those who love it and those who take it, two groups of people that are far from mutually exclusive.




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Deaccessioning Today: Theory and Practice is a comprehensive international overview of deaccessioning. Author Steven Miller covers reasons for removing items from collections, looks at how and why deaccessioning occurs in museums around the world, and discusses recommended disposition procedures.

Collections make museums unique. Getting and keeping physical evidence of the human and natural world, and doing so for the long term, is not done by any other organizations, entities, agencies, etc. This characteristic is essential to accept and understand regardless of a museum's operations. It is especially important when considering what to subtract from collections.

Features include:

*In-depth coverage of reasons for deaccessioning including ownership disputes, untenable conservation, redundancy, fakes and forgeries, source of income, safety reasons;
*Processes for both museum-initiated and externally-initiated deaccessions;
*Disposition options including sale, gift, exchange, demotion, destruction, and return;
*Controversies surrounding deaccessions;

Deaccessioning Today is for museum professionals, those who are responsible for museums (such as trustees, volunteers, elected officials, and donors), as well as the general public with an interest in how museums operate and why.




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'I have no doubt at all, that if philosophy is to prosper in the coming decades, it will have to treat with great seriousness that splendid seriousness that splendid body of philosophical writing of which the essays in this volume constitute one major part'. from the Foreword by Alasdair MacIntyre When historians of philosophy turn to the work of distinguished philosopher Frederick L. Will, Pragmatism and Realism will be an important part of the discussion. In this collection of nine essays, Will demonstrates that a social account of human knowledge is consistent with, and ultimately requires, realism. A timely contribution to the current debate, the book culminates in a naturalistic account of the generation, assessment, and revision of cognitive, moral and social norms. It is written clearly enough for undergraduates, and includes a critical introduction by the editor discussing the bearing of Will's views on current debates among analytic epistemologists, philosophers of science, and moral theorists.




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As early as 1909, African Americans were utilizing the new medium of cinema to catalogue the world around them, using the film camera as a device to capture their lives and their history. The daunting subject of race and ethnicity permeated life in America at the turn of the twentieth century and due to the effect of certain early films, specific television images, and an often-biased news media, it still plagues us today. As new technologies bring the power of the moving image to the masses, African Americans will shoot and edit on laptop computers and share their stories with a global audience via the World Wide Web. These independently produced visions will add to the diverse cache of African American images being displayed on an ever-expanding silver screen. This wide range of stories, topics, views, and genres will finally give the world a glimpse of African American life that has long been ignored and has yet to be seen.

This second edition of Historical Dictionary of African American Cinema covers its history through a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 1400 cross-referenced entries on actors, actresses, movies, producers, organizations, awards, and terminology, this book provides a better understanding of the role African Americans played in film history. This book is an excellent access point for students, researchers, and anyone wanting to know more about African American cinema.




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