Contemporary Art in Heritage Practice: Mapping Its Intentions, Claims, and Complexities

References

• Arts&Heritage. 2018. “Meeting Point Ripon Museums - Arts & Heritage.” Accessed 5 October 2018. https://www.artsandheritage.org.uk/projects/ripon-museums/.
   Google Scholar
• Audience Agency. 2019. Audiences for the Visual Arts. London; Manchester: The Audience Agency.
   Google Scholar
• Black, Niki, and Rebecca Farley. 2020. “Mapping Contemporary Art in the Heritage Experience.” In Contemporary Art in Heritage Places, edited by Nick Cass, Anna Powell, and Gill Park, 15–31. Abingdon: Routledge.
   Google Scholar
• Cass, Nick. 2015. “Interventions in a Shrine: Contemporary Art at the Brontë Parsonage Museum.” PhD Thesis, University of Leeds.
   Google Scholar
• Cass, Nick, Anna Powell, and Gill Park, eds. 2020. Contemporary Art in Heritage Places. Abingdon: Routledge.
   Google Scholar
• Chubb, Shirley. 2007. “Intervention, Location and Cultural Positioning: Working as a Contemporary Artist Curator in British Museums.” PhD Thesis, University of Brighton.
   Google Scholar
• Cresswell, John W. 2007. Qualitative Inquiry and Research Design. Choosing among Five Approaches. 2nd ed. Thousand Oaks, CA: Sage.
   Google Scholar
• Department for Digital, Culture, Media & Sport. 2018. “Taking Part Survey: England Adult Report 2017-18.” https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/740242/180911_Taking_Part_Adult_Annual_Report_-_Revised.pdf.
   Google Scholar
• Dodd, Jocelyn, and Sarah Plumb. 2018. “Whose Voice Do We Hear?” In Prejudice and Pride: LGBTQ Heritage and Its Contemporary Implications, edited by Richard Sandell, Rachael Lennon, and Matt Smith, 75–80. Leicester: Research Centre for Museums and Galleries, University of Leicester.
   Google Scholar
• Dungey, Jan. 1989. “Where Arts, Imagination and Environment Meet.” In Heritage Interpretation: Volume 1 The Natural and Built Environment, edited by D. L. Uzzell, 229–231. London: Belhaven Press.
   Google Scholar
• Folded. 2012. London: Leighton House Museum.
   Google Scholar
• Griffiths, Alyn. 2014. “Skeletal Pavilion Shaped Like a Lock Keeper’s Cottage Pops Up in London’s Olympic Park.” Dezeen. October. https://www.dezeen.com/2014/10/22/observatorium-1930s-lock-keepers-cottage-wood-london-olympic-park/.
   Google Scholar
• Lennon, R. 2018. “For Ever, for Everyone?” In Prejudice and Pride: LGBTQ Heritage and its Contemporary Implications, edited by Richard Sandell, Rachael Lennon, and Matt Smith, 9–16. Leicester: Research Centre for Museums and Galleries, University of Leicester.
   Google Scholar
• London Legacy Development Corporation. 2014. “Old Lock-Keeper’s Cottage is Resurrected on Queen Elizabeth Olympic Park.” [Press release].
   Google Scholar
• McLaren, Duncan. 2000. “Fine Art is Put Out to Grass.” The Independent, September 6.
   Google Scholar
• McShine, Kynaston. 1999. The Museum as Muse: Artists Reflect. New York: Museum of Modern Art.
   Google Scholar
• Meadow Arts. n.d. “Meadow Arts Give Me Shelter - Attingham Park, Shrewsbury, Shropshire.” Accessed 11 July 2018. https://www.meadowarts.org/exhibitions/give-me-shelter.
   Google Scholar
• Meakin, Níone. 2010. “A Dark Day In Paradise, Royal Pavilion, June 8 to January 16, 2011.” The Argus, June 4.
   Google Scholar
• Museums Libraries and Archives Council. 2011. Sharing the Impact of Museumaker. London: MLA.
   Google Scholar
• National Trust. 2014. Memorandum of Understanding between Arts Council England and the National Trust, April 2014. London; Swindon: Arts Council England; The National Trust.
   Google Scholar
• National Trust. 2016. “Call for Expressions of Interest: Contemporary Art Project Brief - Hanbury Hall, Worcester.” Swindon: National Trust.
   Google Scholar
• National Trust. 2018a. “Annual Report 2017/18.” Swindon: National Trust.
   Google Scholar
• National Trust. 2018b. “Exploring the Wild and Exotic at Felbrigg National Trust.” Accessed 20 March 2018. https://www.nationaltrust.org.uk/felbrigg-hall-gardens-and-estate/features/exploring-the-wild-and-exotic-at-felbrigg?platform=hootsuite.
   Google Scholar
• National Trust. 2019. Strategy. Accessed 2 September 2019. https://www.nationaltrust.org.uk/features/strategy.
   Google Scholar
• Perahia, David Behar. 2011. INVISIBLE STRUCTURA I Exhibition David Behar Perahia Diary. Accessed September 10, 2018. https://davidbeharperahia.wordpress.com/2011/03/28/invisible-structura-i-exhibition/.
   Google Scholar
• Putnam, James. 2001. Art and Artifact: The Museum as Medium. London: Thames & Hudson.
   Google Scholar
• Schlunke, Katrina. 2013. “Memory and Materiality.” Memory Studies 6 (3): 253–261. doi:10.1177/1750698013482864.
   Web of Science ®Google Scholar
• Smith, Matt. 2012. “The Art of Unravelling the Past.” Engage 31: 73–78.
   Google Scholar
• Smith, L., M. Wetherall, and G. Campbell. 2018. Emotion, Affective Practices, and the Past in the Present. London; New York: Routledge.
   Google Scholar
• Staiff, Russell. 2014. Re-imagining Heritage Interpretation: Enchanting the Past-Future. Farnham; Burlington: Ashgate.
   Google Scholar
• Stokes, Matt. 2018. Gogmagog – the Voices of the Bells. Leaflet from Installation at Holy Trinity Church, Sunderland.
   Google Scholar
• Tolia-Kelly, Divia P., Emma Waterton, and Steve Watson. 2017. Heritage, Affect and Emotion: Politics, Practices and Infrastructures. London, New York: Routledge.
   Google Scholar
• Visit Norfolk. 2018. “Curious Cabinets at Felbrigg Hall.” Accessed September 10, 2018.
   Google Scholar
• Vit-Suzan, Ilan. 2014. Architectural Heritage Revisited: A Holistic Engagement of its Tangible and Intangible Constituents. Abingdon; New York: Routledge.
   Google Scholar
• Zebracki, Martin, Rob Van Der Vaart, and Irina Van Aalst. 2010. “Deconstructing Public Artopia: Situating Public-Art Claims within Practice.” Geoforum 41 (5): 786–795. doi:10.1016/j.geoforum.2010.04.011.
   Web of Science ®Google Scholar