mickey-mouse-museum

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Celebrate 90 years since the birth of Disney's most iconic creation with this Welcome to the Museum style collection, showcasing Mickey's progression through art styles from his very first appearance to the present day. This curated collection includes rarely-seen artwork from the Disney archives, from concept sketches to final drawings.

This is a book about why history matters. It shows how popularized historical images and narratives deeply influence Americans' understanding of their collective past. A leading public historian, Mike Wallace observes that we are a people who think of ourselves as having shed the past but also avid tourists who are on a "heritage binge," flocking by the thousands to Ellis Island, Colonial Williamsburg, or the Vietnam Memorial.Wallace probes into the trivialization of history that pervades American culture as well as the struggles over public memory that provoke stormy controversy. The recent imbroglio surrounding the National Air and Space Museum's proposed Enola Gay exhibit was reported as centering on why the U.S. government decided to use the A-Bomb against Japan. Wallace scrutinizes the actual plans for the exhibit and investigates the ways in which the controversy drew in historians, veterans, the media, and the general public.Whether his subject is multimillion dollar theme parks owned by powerful corporations, urban museums, or television docudramas, Mike Wallace shows how their depictions of history are shaped by assumptions about which pasts are worth saving, whose stories are worth telling, what gets left out, and who is authorized to make the decisions. Author note: Mike Wallace is Professor of History at John Jay College, City University of New York. He is the co-author, with Edwin G. Burrows, of Gotham: A History of New York City to 1898, winner of the 1999 Pulitzer Prize for History.

The Museum as Muse: Artists Reflect surveys the ways in which artists, mostly of the present century, have addressed the museum, commented on its nature, confronted its concepts and functions, drawn from its methods, and examined its relationship to the art it contains. This lively, involving, and intellectually provocative presentation encompasses a tremendous variety of artworks, large and small, intimate and expansive, in mediums both familiar and surprising: paintings, sculptures, photographs, drawings, prints, videos, and installations. Fully illustrated with the works of an international cross section of more than sixty artists, this volume makes a substantial and lasting contribution to our understanding of the intertwining, continually metamorphosing relationship between artists and museums. Published by The Museum of Modern Art, New York, in 1999 on the occasion of the major exhibition The Museum as Muse: Artists Reflect, this book features an introductory essay by Kynaston McShine, Senior Curator in the Department of Painting and Sculpture at The Museum of Modern Art and director of the exhibition. In the ensuing plate section, short entries by several authors on the art and artists accompany 233 full-color and black-and-white illustrations representing a wide diversity of works of art. Among them are photographs of people, art, spaces, and events taken inside museums, by such artists as Henri Cartier-Bresson, Elliott Erwitt, Eve Arnold, Garry Winogrand, and Thomas Struth. Personal museums and cabinets of curiosities, large and in miniature, have been created by Charles Willson Peale, Marcel Duchamp, Joseph Cornell, Claes Oldenburg, Fluxus, and Mark Dion: others have focusedon fantastic images of the destruction or transformation of museums, such as the painter Hubert Robert (the first curator of the Louvre), Edward Ruscha, Komar and Melamid, and Christo. This wealth of material is followed by an anthology of manifestos, statements, and meditations written by artists in this century; biographies and exhibition histories of the artists; and a bibliography of general and monographic publications.

Since 1973, TEXAS MONTHLY has chronicled life in contemporary Texas, reporting on vital issues such as politics, the environment, industry, and education. As a leisure guide, TEXAS MONTHLY continues to be the indispensable authority on the Texas scene, covering music, the arts, travel, restaurants, museums, and cultural events with its insightful recommendations.

Every year 100 million visitor's tour historic houses and re-created villages, examine museum artifacts, and walk through battlefields. But what do they learn? What version of the past are history museums offering to the public? And how well do these institutions reflect the latest historical scholarship? Fifteen scholars and museum staff members here provide the first critical assessment of American history museums, a vital arena for shaping popular historical consciousness. They consider the form and content of exhibits, ranging from Gettysburg to Disney World. They also examine the social and political contexts on which museums operate.

Ranging from the playful, to the fact-filled, and to the thoughtful, this collection tracks the fortunes of Walt Disney’s flagship character. From the first full-fledged review of his screen debut in November 1928 to the present day, Mickey Mouse has won millions of fans and charmed even the harshest of critics. Almost half of the eighty-one texts in A Mickey Mouse Reader document the Mouse’s rise to glory from that first cartoon, Steamboat Willie, through his seventh year when his first color animation, The Band Concert, was released. They include two important early critiques, one by the American culture critic Gilbert Seldes and one by the famed English novelist E. M. Forster. Articles and essays chronicle the continued rise of Mickey Mouse to the rank of true icon. He remains arguably the most vivid graphic expression to date of key traits of the American character—pluck, cheerfulness, innocence, energy, and fidelity to family and friends. Among press reports in the book is one from June 1944 that puts to rest the urban legend that “Mickey Mouse” was a password or code word on D-Day. It was, however, the password for a major pre-invasion briefing. Other items illuminate the origins of “Mickey Mouse” as a term for things deemed petty or unsophisticated. One piece explains how Walt and brother Roy Disney, almost single-handedly, invented the strategy of corporate synergy by tagging sales of Mickey Mouse toys and goods to the release of Mickey’s latest cartoons shorts. In two especially interesting essays, Maurice Sendak and John Updike look back over the years and give their personal reflections on the character they loved as boys growing up in the 1930s.

This volume brings together for the first time the most significant papers on the interpretation of objects and collections and examines how people relate to material culture and why they collect things. The first section of the book discusses the interpretation of objects, setting the philosophical and historical context of object interpretation. Papers are included which discuss objects variously as historical documents, functioning material, and as semiotic texts, as well as those which examine the politics of objects and the methodology of object study. The second section, on the interpretation of collections, looks at the study of collections in their historical and conceptual context. Many topics are covered such as the study of collecting to structure individual identity, its affect on time and space and the construction of gender. There are also papers discussing collection and ideology, collection and social action and the methodology of collection study. This unique anthology of articles and extracts will be of inestimable value to all students and professionals involved in the interpretation of objects and collections.

"Indexes to papers read before the Museums Association, 1890-1909. Comp. by Charles Madeley": v. 9, p. 427-452.

In a play that is realistic, sometimes humorous, and always profoundly moving, Larry L. King deals with the problems of aging and our mistaken stereotypes and impersonal treatment of the elderly. Cowboy Bennett, long a resident of the Golden Shadows Senior Citizens Home, is a man with not only memories of the past but also dreams of the future for himself and his companions--especially the charming widow, Flora Harper. At the play's end, you'll want to stand and yell, "Ya! Ya!" with Cowboy. The Golden Shadows Old West Museum is based on Michael Blackman's short story, which was named the Best Short Fiction of 1973 by the Texas Institute of Letters. The text of the short story is included in this edition.

A comprehensive and colorfully illustrated history of Disney collectibles, from 1928 to 1958, includes an informative text by an expert collector and offers a thorough look at the Christmas toys, lunch boxes, books, and other articles inspired by the Disney studios. Reprint.

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