This thesis is a synthesis of two separate research projects conducted in the summer of 2018 and the spring of 2020. The first project was conducted in conjunction with the Fort Ticonderoga Association as a means of exploring the memory and legacy of a historic military landmark in written history, interpretation, and public memory. The second project was conducted in conjunction with the National Park Service (NPS) and the American Battlefield Protection Program (ABPP) with funding from the National Endowment for the Humanities (NEH). Instead of focusing on a single site, this second study looked at a collection of federal, state, local, and private battlefields in order to catalog the administrative histories, the boundary expansions, and the preservation priorities that have occurred both at the individual sites as well as collectively over time. The scope of the NEH grant was meant to evaluate the role that the NPS, ABPP, and the Department of the Interior have played in developing and refining preservation standards used by federal and non-federal sites. This thesis integrates the two studies in order to examine the correlation between public memory and battle sites in North America. / History

This paper summarizes the process by which I created a podcast that examines institutional siloing in universities and nonprofit cultural organizations and suggests methods for how collaborative work could happen in these settings. The podcast draws on three case studies from three different institutions to examine how collaboration does and does not happen. I also examine how universities, as a place of higher learning and training, can function in a way that restricts interdisciplinary work from occurring. This is focused on exhibition creation but can be applied to other projects as well. One of the greatest challenges to collaborative work is the flow of money through cultural organizations, which I explore through a consideration of granting organizations and institutional budgets. Included with this is a poster that serves as a checklist for project teams. This project is an advocation for collaborative practices and a reflection on the organizations in which we operate and how and why we must do more to maintain interdisciplinary work in the field of public humanities. / History / Accompanied by one .WAV audio file: 1) Mattx27s Thesis Podcast Final

abstract: Art museums are institutions with a mission to not only preserve art and culture for the public, but to provide visitors with an educational experience. This qualitative case study includes three art museums in the Phoenix Metropolitan Area: a university art museum, a large public museum in Downtown Phoenix, and a contemporary art museum in the city of Scottsdale. This research study sought to identify the ways in which eight art museum employees from the education and administration departments identify their institutions as educational. Data was collected and analyzed through the methods of direct observations and field notes, one-on-one interviews, and photographs of educational programming. After examining these art museums and conducting eight interviews, a description of each observation is displayed using examples of photographs and field notes. Although findings suggest a variety of educational programs for a range of visitors in each institution, all three museums offered comparable programs, activities, and events. This research study revealed similar ideas, themes, and perspectives between art museum educators and administrators. Findings indicate the importance of collaboration between both museum departments in order to ensure the success of their museums. All eight participants in the study had a passion for art and art museums as well as visitor education. Additionally, participants had concurrent thoughts in their interviews regarding concepts of educational programming, cultural diversity approaches, art museum fundamental roles, and overall educational goals. / Dissertation/Thesis / Masters Thesis Art 2018

This dissertation investigates the interplay between a selected set of museum practices, such as online strategies, digitisation of artwork reproductions, and crowdsourcing, through a theoretically grounded perspective. Existing discourse and debate on the museum's movement from an exclusively physical, to a digital or hybrid presence display an excessive interest in advocacy, usually focusing on small examples of successful practices which are then argued as somehow empowering or resolutive, usually from a 'social justice' point of view. Conversely, in those same discourses little attention is paid to the macro-context within which these cases take place: current debates lack an articulation of how museum practices reflect ongoing trends and paradigms on a culture-wide level, and also eschew non-advocative, neutral discussion of the politics, discourses and power relations that such practice entail. I suggest that the contemporary constructivist, digital museum can be better contextualised if we frame emergent digital museum praxis within a framework that resorts to well-established, and well-described theoretical paradigms that can be observed in other cultural and social contexts as well. The advantage of such an approach is that museum practice, and the museum as an institution, can then be seen in continuity with current macro-trends, rather than as isolates whose usefulness and sustainability begins and ends within the museum's precinct. This dissertation begins this proposed shift in point of view by addressing emergent museum practices such as the drafting of digital strategies; the creation of digital reproductions of artworks for online display; and crowdsourcing in the context of theoretical frameworks such as the utopian imagination; ontology of digital-beings; and contemporary labour practices. While not comprehensive, and exploratory in nature, this dissertation contributes to the discipline by providing a new, more in-depth point of view on 'hot' practices, encouraging a contextualisation of the museum that goes beyond the museum itself, into a theoretical and interdisciplinary field that takes advantage of ideas developed within digital humanities, labour critique, informatics and cultural studies.

My intention is to contribute to the field of exhibition-making a repertoire of presentation modes, previously not analysed or documented, that can be applied to the display of fashion in the museum and which will extend those techniques currently available to the exhibition-maker to create meaningful and stimulating exhibition environments. Part 1 contextualises my investigation, through discussion of the exhibition as source material, the methods employed to execute the research and analysis of relevant literature. Part 1 concludes with an introduction to ModeMuseum, Antwerp, which is the primary location for my research. Part 2 details the identification, description and definition of a repertoire of presentation modes, classified and distinguished as innovative through comparative analysis of over 100 exhibitions visited for this research, alongside investigation of the exhibition formats and structures that support deployment of the modes. Part 3 relates the application of the presentation modes to the construction of a 'fashion autobiography‘ in the form of a proposal for a hypothetical exhibition, through examination of the processes utilised to develop the exhibition narrative and detailed account of the proposal in its final realisation. In conclusion, I will critically reflect on the research executed, underlining the interrelationship of the theoretical and practice-based activities. Finally, I will detail opportunities taken to disseminate this research, and indicate possible directions for continued investigation.

This thesis constructs the cultural biography of the National Museum of the American Indian’s Stockbridge-Munsee tote, a twentieth-century souvenir craft, in order to examine the tote’s cultural and cross-cultural associated meanings and how these associated meanings shift from one context to another. It follows the tote’s history including its production, purchase, and transfer. This thesis briefly recounts the Stockbridge-Munsee Indians’ history and focuses on a few examples of craft objects produced prior to the 1960s, when the Stockbridge-Munsee tote was made. Wisconsin Indian Craft, a craft cooperative formed in the 1960s, produced objects such as the Stockbridge-Munsee tote. This tote, along with seventeen other Wisconsin Indian Craft souvenirs, was purchased by the Department of the Interior Indian Arts and Crafts Board in 1964 and transferred to the National Museum of the American Indian’s collection in 2000. This thesis analyzes the advantages and disadvantages of the inclusion of the Stockbridge-Munsee tote in the National Museum of the American Indian’s collection. From constructing the Stockbridge-Munsee tote’s cultural biography, this thesis concludes that the tote’s associated meanings do not merely shift from context to context. Rather, these associated meanings build upon one another to create layers of coexisting associated meanings.

This thesis is an exploration of the complex relationship between academic, popular and museum histories. A central theme to the research is that nostalgia currently keeps these categories of history quite separate from one another, as academic historians are critical of the use of nostalgia in presenting the past, whereas popular histories are often steeped in nostalgia, as are historical narratives presented in museums. I argue that nostalgia and nostalgic sources should not be viewed as problematic by historians, but embraced simply as another type of historical source. Popular histories, rich in nostalgia, and often reliant on memories should also be considered more favourably by academics as they serve to engage people with historical narratives as both contributors and consumers. The inclusion of nostalgic sources, such as memoirs and oral histories, in historical narratives can also result in the production of new or relative histories, which enrich the historical past presented to us, and open up fresh debates on well covered topics. Nor is nostalgia problematic in museums as it helps visitors relate to, and understand, the stories presented to them. Nostalgia can also motivate people to donate objects to museums, and therefore to have an active role in how the past is represented within museums. Once again this serves to produce a more complex narrative for the visitor that can broaden our understanding of the past. These ideas are presented through two case studies of agricultural change in Lincolnshire between 1850 and 1980, and a case study of museums in the county. The historical narratives were produced using a range of primary and secondary sources, including oral histories and memoirs. The inclusion of non- ii traditional sources aided in the production of new accounts of changes in the labour patterns of women and children, and of increased mechanisation during the period. Both chapters reposition agricultural modernity in history, demonstrating that the shift from traditional to modern practices did not occur immediately after World War Two, but over a period of 30 years from the 1930s to the 1960s. The museological case study explores how the past is represented in museums and the factors that shape this. Museums in Lincolnshire were surveyed, and professionals working in them were interviewed, to ascertain how they present historical narratives around agricultural changes, and how nostalgia relates to this. It was found that nostalgia had very little impact on how the past was presented in the museums, but the processes of donation and collection, the lack of specialist knowledge in the sector, and external political factors had a significant impact on the presentation of the past in these institutions. The thesis argues that those involved with academic, popular, and museum histories should work collaboratively to explore ways of incorporating nostalgic sources into historical narratives to develop new interpretations of the past. They should also work in partnership to move away from the traditional museological ‘nostalgia debate’ to resolve the issues that currently affect how the past is presented in museums.

Taking hoarding as a model for amassing materials within art practice, this research questions the borders of a productive or rational relationship to collation and the development of pathology. In practice, I focus on how materials can be manipulated to reflect or imply attachments and value systems within disorder, collection and their interpretations/ analyses. Using historical examples, I question how disorder is formed, spatially, aesthetically and through clinical record-keeping, making specific reference to written/visual case-studies from Charcot and Freud. I question whether disorder can ever be seen as a culturally produced phenomenon in parallel to its clinical counterpart and suggest its uses to knowledge production within the fields of Fine Art and critical theory. I suggest hoarding – and the cultural construction of disorder - as collagist and create works, which reflect on the borders of psychopathological attachments to ‘stuff’; psychologies inherent to accumulation; and conscious and unconscious spaces occupied by both object and analysis. Creating new collagist and fictive methodologies out of the construction of case histories, and through the cooption of diagnostic tools and narratology used in psychoanalysis, I write about the work and within the work. This research questions how psychological disorder is re-narrated through fictive and visual forms within culture and via collective understandings of psychoanalytic subjectivities. I suggest how these fictions connect, accumulate and reflect back on themselves, affecting research and crossovers within psychoanalytic, spatial and cultural fields. I make links between the modern city and psychological disorder, drawing on the psychical affects of changes in urban space. Examining collation, the construction of psychological spaces and temporality in art practice (from Kurt Schwitters’ Merzbau to Michael Landy’s Break Down and Tomoko Takahashi’s collation of objects) alongside new clinical research into Hoarding Disorder, I relate compulsion and space to a rationalisation of clutter in contemporary practice.

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While historic sites have been used and operated as educational tools in the form of museums and public spaces since the emergence of the field of preservation, educational outreach frequently fails to include preservation concepts within these efforts. This thesis attempts to answer the question of “Why is preservation education lacking or absent at historic sites, and how can it be an integral part of a historic site’s programming, presentation, and interpretation?” To investigate this question, scholarly research was combined with first hand experiences of sites and interviews with stewarding organization staff members. Through this investigation, emerged a contextualization of historic sites within the fields of preservation and museum studies, a relation of the current state of preservation education to the opportunities available by means of physical sites, and a connection of preservation concepts to museum education theory. Multiple means of educational implementation and execution were explored, as were target audiences and organizational management structure. The result is a collection of examples in practice, explanations of missed opportunities, and recommendation for effective implementation. Collectively, these results reinforce the importance of using physical sites available to the public for educational purposes not limited to historic significance, but including preservation in all facets, as a means of introducing the field along with its impact and importance to the general public as a means of generating an interest that will be redirected into their communities. / text