A leading activist museum director explains why museums are at the center of a political storm In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to resign at the Whitney. That is to say nothing of demonstrations against exhibitions and artworks. Protests have roiled institutions across the world, from the Abu Dhabi Guggenheim to the Akron Art Museum. A popular expectation has grown that galleries and museums should work for social change. As Director of the Queens Museum, Laura Raicovich helped turn that New York muni- cipal institution into a public commons for art and activism, organizing high-powered exhibitions that doubled as political protests. Then in January 2018, she resigned, after a dispute with the Queens Museum board and city officials. This public controversy followed the museum’s responses to Donald Trump’s election, including her objections to the Israeli government using the museum for an event featuring Vice President Mike Pence. In this lucid and accessible book, Raicovich examines some of the key museum flashpoints and provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding conservative, capitalist values. And she suggests ways museums can be reinvented to serve better, public ends.
"Trains, literature and culture is the first work to thoroughly explore the railroad's connections with a full range of cultural discourses--including literature, visual art, music, graffiti, and television but also advertising, architecture, cell phones, and more..."--Provided by publisher.
Organising Work and Workers in Hotels and Tourist Resorts
Author: David Jordhus-Lier
Category: Business & Economics
The hospitality and tourism sector is a large and rapidly expanding industry worldwide, and can rightfully be described as a vehicle of globalisation. Hotels are among the cornerstones of the industry often drawing workers from the most vulnerable segments of multicultural labour markets, accommodating and entertaining tourists and business travelers from around the world. This book explores the organisation of work, worker identities and worker strategies in hotel workplaces, as they are located in heterogeneous labour markets being changed by processes of globalisation. It uses an explicitly geographical approach to understand how different groups of workers experience and respond to challenges in the hospitality industry, and is based on recent theoretical debates and empirical research on hotel workplaces in cities as different as Oslo, Goa, London, Las Vegas and Toronto. A multi-scalar analysis is taken where concrete worker bodies and their physical, emotional and embodied labour are seen in relation to, among other aspects: the regulation of national and regional labour markets, city governments with global city ambitions, and global corporate actors and labour migration patterns. The book sheds light on the hotel workplace as a hierarchical and fragmented social space as well as addressing questions on worker mobility, the fragmentation of work, scales of organisation and how workers can help shape the regulation of their industry. This timely volume brings together contributions from international academics and is valuable reading for all those interested in hospitality, tourism, human geography and globalisation.
In an age of protest, culture and museums have come under fire. Protests of museum funding (for example, the Metropolitan Museum accepting Sackler family money) and boards (for example, the Whitney appointing tear gas manufacturer Warren Kanders)--to say nothing of demonstrations over exhibitions and artworks--have roiled cultural institutions across the world, from the Guggenheim Abu Dhabi to the Akron Art Museum. At the same time, never have there been more calls for museums to work for social change, calls for the emergence of a new role for culture. As director of the Queens Museum, Laura Raicovich helped turn that New York municipal institution into a public commons for art and activism, organizing high-powered exhibitions that were also political protests. Then in January, 2018, she resigned, after a dispute with the Queens Museum board and city officials became a public controversy--she had objected to the Israeli government using the museum for an event featuring vice president Mike Pence. In this book, Raicovich explains some of the key museum flashpoints, and she also provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding capitalist values. And she suggests how museums can be reinvented to serve better, public ends.