Public History in Historical Perspective - Böcker

This title traces the rise of the modern market for antique goods. In this era of Antiques Roadshow and eBay, it is hard to imagine a time when Americans did not treasure the home furnishings of elite early American families. But as this book demonstrates, antiquing - particularly the practice of valuing old things for their aesthetic qualities - is a relatively recent invention whose origins can be found in the early years of the twentieth century. Although nineteenth-century Americans did appreciate heirlooms, they saw them as memory markers, tangible representations of honored ancestors or local history. In ""Out of the Attic"", Briann G. Greenfield traces the transformation of antiques from family keepsakes to valuable artistic objects, examining the role of collectors, dealers, and museum makers in the construction of a new tradition based on the aesthetic qualities of early American furnishings. While recognizing the significance of antiques as symbols of an enduring American culture, Greenfield also delves behind popular rhetoric to examine the development of a retail structure specifically designed to facilitate the buying and selling of old wares. With antique shops proliferating all over New England, pickers going door-to-door in search of 'finds', and forgers taking illicit advantage of growing demand, antique owners and collectors found themselves trying to navigate a retail market characterized by escalating prices and high stakes purchases. In this sense, antiques functioned as more than remnants of a treasured past; they became modern consumer goods. The book is divided into a series of case studies, each intended to illuminate some aspect of 'the dynamic of consumer history'. One chapter examines the role of Jewish dealers in promoting American antiques; another profiles Jessie Baker Gardner, a small-time collector and would-be museum maker from Providence, Rhode Island. Greenfield also looks at the institutionalization of antiques, with chapters focusing on Henry Flynt of Deer-field, Massachusetts, who embraced the 'aestheticization of antiques' in the 1940s and 1950s, and on Smithsonian curator C. Malcolm Watkins, who challenged the decorative art market during the 1950s and 1960s by purchasing old tools and crude furniture for the nation's museum.

The rapid expansion of the field of public history since the 1970s has led many to believe that it is a relatively new profession. In this book, Denise D. Meringolo shows that the roots of public history actually reach back to the nineteenth century, when the federal government entered into the work of collecting and preserving the nation’s natural and cultural resources. Scientists conducting research and gathering specimens became key figures in a broader effort to protect and interpret the nation’s landscape. Their collaboration with entrepreneurs, academics, curators, and bureaucrats alike helped pave the way for other governmental initiatives, from the Smithsonian Institution to the parks and monuments today managed by the National Park Service. All of these developments included interpretative activities that shaped public understanding of the past. Yet it was not until the emergence of the education-oriented National Park Service history program in the 1920s and 1930s that public history found an institutional home that grounded professional practice simultaneously in the values of the emerging discipline and in government service. Even thereafter, tensions between administrators in Washington and practitioners on the ground at National Parks, monuments, and museums continued to define and redefine the scope and substance of the field. The process of definition persists to this day, according to Meringolo, as public historians establish a growing presence in major universities throughout the United States and abroad.

In today’s United States, the legacy of the American Revolution looms large. From presidential speeches to bestselling biographies, from conservative politics to school pageants, everybody knows something about the Revolution. Yet what was a messy, protracted, divisive, and destructive war has calcified into a glorified founding moment of the American nation. Disparate events with equally diverse participants have been reduced to a few key scenes and characters, presided over by well-meaning and wise old men.Recollections of the Revolution did not always take today’s form. In this lively collection of essays, historians and literary scholars consider how the first three generations of American citizens interpreted their nation’s origins. The volume introduces readers to a host of individuals and groups both well known and obscure, from Molly Pitcher and “forgotten father” John Dickinson to African American Baptists in Georgia and antebellum pacifists. They show how the memory of the Revolution became politicised early in the nation’s history, as different interests sought to harness its meaning for their own ends. No single faction succeeded, and at the outbreak of the Civil War the American people remained divided over how to remember the Revolution.

Today well over two hundred museums focusing on African American history and culture can be found throughout the United States and Canada. Many of these institutions trace their roots to the 1960s and 1970s, when the struggle for racial equality inspired a movement within the black community to make the history and culture of African America more “public.”This book tells the story of four of these groundbreaking museums: the DuSable Museum of African American History in Chicago (founded in 1961); the International Afro-American Museum in Detroit (1965); the Anacostia Neighborhood Museum in Washington, D.C. (1967); and the African American Museum of Philadelphia (1976). Andrea A. Burns shows how the founders of these institutions, many of whom had ties to the Black Power movement, sought to provide African Americans with a meaningful alternative to the misrepresentation or utter neglect of black history found in standard textbooks and most public history sites. Through the recovery and interpretation of artifacts, documents, and stories drawn from African American experience, they encouraged the embrace of a distinctly black identity and promoted new methods of interaction between the museum and the local community.Over time, the black museum movement induced mainstream institutions to integrate African American history and culture into their own exhibits and educational programmes. This often controversial process has culminated in the creation of a National Museum of African American History and Culture, now scheduled to open in the nation’s capital in 2015.

In 1707 Scotland ceased to exist as an independent country and became part of Great Britain. Yet it never lost its distinct sense of identity, history, and politics. To preserve the country's unique antiquities and natural specimens, a Scottish earl founded the Society of Antiquaries of Scotland in 1780, at the beginning of the Enlightenment's museum boom. Now numbering twelve million objects and specimens and representing everything from archaeology to applied arts and design, from social history to science and the natural world, these collections formed the foundation for what eventually became the National Museum of Scotland.In Exhibiting Scotland, Alima Bucciantini traces how these collections have helped tell the changing stories of this country for centuries and how the museum reflects the Scots' continuing negotiation of their place within modern Britain.

Collective memories are key to social movements. Activists draw on a shared history to build identity, create movement cohesion, and focus political purpose. But what happens when marginalized communities do not find their history in dominant narratives? How do they create a useable past to bind their political communities together and challenge their exclusion?In Clio's Foot Soldiers, Lara Leigh Kelland investigates these questions by examining 1960s and 1970s social movements comprised of historically marginalized peoples: Civil Rights, Black Power, Women's and Gay Liberation, and American Indian. These movements sought ownership over their narratives to create historical knowledge reflective of their particular experiences. To accomplish their goals, activists generated new forms of adult education, published movement newspapers, and pursued campus activism and speeches, public history efforts and community organizations. Through alternative means, marginalized communities developed their own historical discourses to mobilize members, define movement goals, and become culturally sovereign. In so doing, they provided a basis for achieving political liberation and changed the landscape of liberal cultural institutions.

From around the world, whether for New York City's 9/11 Memorial, at exhibits devoted to the arts of Holocaust memory, or throughout Norway's memorial process for the murders at Utøya, James E. Young has been called on to help guide the grief stricken and survivors in how to mark their losses. This poignant, beautifully written collection of essays offers personal and professional considerations of what Young calls the ""stages of memory,"" acts of commemoration that include spontaneous memorials of flowers and candles as well as permanent structures integrated into sites of tragedy. As he traces an arc of memorial forms that spans continents and decades, Young returns to the questions that preoccupy survivors, architects, artists, and writers: How to articulate a void without filling it in? How to formalize irreparable loss without seeming to repair it?Richly illustrated, the volume is essential reading for those engaged in the processes of public memory and commemoration and for readers concerned about how we remember terrible losses.

The histories of colonial settlement in America are generally presented as uniquely national stories. Yet because these histories involved settlers who crossed oceans, they are inherently transnational and have been important for different groups throughout the world. To understand how settlement histories are used to promote social, political, and commercial relations across national borders, Adam Hjorthén explores the little-known phenomenon of cross-border commemorations.Focusing on two celebrations of Swedish settlement in America - the 1938 New Sweden Tercentenary and the 1948 Swedish Pioneer Centennial - Hjorthén examines a wide variety of sources to demonstrate how cultural leaders, politicians, and businessmen used these events to promote international relations between the United States and Sweden during times of great geopolitical transformation. Cross-Border Commemorations argues that scholarship on public commemoration should expand beyond national borders and engage the shared and contested meanings of history across local, national, and transnational contexts.

West of downtown St. Louis sits an 1851 town house that bears no obvious relationship to the monumental architecture, trendy condominiums, and sports stadia of its surroundings. Originally the residence of a fur-trade tycoon and now the Campbell House Museum, the house has been subject to energetic preservation and heritage work for some 130 years.In Taking Possession, Heidi Aronson Kolk explores the complex and sometimes contradictory motivations for safeguarding the house as a site of public memory. Crafting narratives about the past that comforted business elites and white middle-class patrons, museum promoters assuaged concerns about the city's most pressing problems, including racial and economic inequality, segregation and privatization, and the legacies of violence for which St. Louis has been known since Ferguson. Kolk's case study illuminates the processes by which civic pride and cultural solidarity have been manufactured in a fragmented and turbulent city, showing how closely linked are acts of memory and forgetting, nostalgia and shame.

The United States has long been dependent on the seas, but Americans know little about their maritime history. While Britain and other countries have established national museums to nurture their seagoing traditions, America has left that responsibility to private institutions. In this first-of-its-kind history, James M. Lindgren focuses on a half-dozen of these great museums, ranging from Salem's East India Marine Society, founded in 1799, to San Francisco's Maritime Museum and New York's South Street Seaport Museum, which were established in recent decades.Begun by activists with unique agendas -- whether overseas empire, economic redevelopment, or cultural preservation -- these museums have displayed the nation's complex interrelationship with the sea. Yet they all faced chronic shortfalls, as policymakers, corporations, and everyday citizens failed to appreciate the oceans' formative environment. Preserving Maritime America shows how these institutions shifted course to remain solvent and relevant and demonstrates how their stories tell of the nation's rise and decline as a commercial maritime power.

Since the early 2000s, genealogy has become a lucrative business, an accelerating online industry, a massive data mining project, and fodder for reality television. But the fact remains that our contemporary fascination with family history cannot be understood independently of the powerful technological tools that aid and abet in the search for traces of blood, belonging, and difference.In The Genealogical Sublime, Julia Creet traces the histories of the largest, longest-running, most lucrative, and most rapidly growing genealogical databases to delineate a broader history of the industry. As each unique case study reveals, new database and DNA technologies enable an obsessive completeness -- the desire to gather all of the world's genealogical records in the interests of life beyond death. Archival research and firsthand interviews with Church of Jesus Christ of Latter-day Saints officials, key industry players (including Ancestry.com founders and Family Search executives), and professional and amateur family historians round out this timely and essential study.

The Museums Connect program stands at the intersection of transnational public history and international diplomacy. Sponsored by the U.S. Department of State and administered by the American Alliance of Museums, this program partners U.S. museums and non-U.S. museums in projects designed to foster community collaboration and engagement. Museum Diplomacy focuses on three Museums Connect projects arranged between the United States and South Africa, Morocco, and Afghanistan, respectively. Utilizing a diverse range of oral interviews, Richard J. W. Harker explores how museums negotiate national boundaries, institutional and local histories, and post-9/11 geopolitical interests. Working in different political and professional contexts, museum partners have built community-driven collaborative exhibitions and projects that tell transnational stories.As more historic sites and museums seek to surmount social, cultural, and economic barriers between themselves and their communities in their exhibitions and programming, the Museums Connect program provides important lessons on how to overcome entrenched hierarchies of power in public history.

In 1791, a group of elite Bostonian men established the first historical society in the nation. Within sixty years, the number of local history organizations had increased exponentially, with states and territories from Maine to Louisiana and Georgia to Minnesota boasting collections of their own.With in-depth research and an expansive scope, Rescued from Oblivion offers a vital account of the formation of historical culture and consciousness in the early United States, re-centering in the record groups long marginalized from the national memory. As Alea Henle demonstrates, these societies laid the groundwork for professional practices that are still embraced today: collection policies, distinctions between preservation of textual and nontextual artifacts, publication programs, historical rituals and commemorations, reconciliation of scholarly and popular approaches, and more. At the same time, officers of these early societies faced challenges to their historical authority from communities interested in preserving a broader range of materials and documenting more inclusive histories, including fellow members, popular historians, white women, and peoples of color.

Americans were enthralled by the Shakers in the years between 1925 and 1965. They bought Shaker furniture, saw Shaker worship services enacted on Broadway, sang Shaker songs, dressed in Shaker-inspired garb, collected Shaker artifacts, and restored Shaker villages. William D. Moore analyzes the activities of scholars, composers, collectors, folklorists, photographers, writers, choreographers, and museum staff who drove the national interest in this dwindling regional religious group.This interdisciplinary study places the activities of individuals -- including Doris Humphrey, Charles Sheeler, Laura Bragg, Juliana Force, and Edward Deming Andrews -- within the larger cultural and historical contexts of nationalism, modernism, and cultural resource management. Taking up previously unexamined primary sources and cultural productions that include the first scholarly studies of the faith, material culture and visual arts, stage performances, and museum exhibitions, Shaker Fever compels a reconsideration of this religious group and its place within American memory. It is sure to delight enthusiasts, public historians, museum professionals, furniture collectors, and anyone interested in the dynamics of cultural appropriation and stewardship.

In 1888, the Eastman Dry Plate and Film Company offered the first portable camera that allowed users to conveniently take photos, using leisure travel as a primary marketing feature to promote it. The combination of portability, ease of use, and mass advertising fed into a national trend of popular photography that drew on Americans' increasing mobility and leisure time. The Kodak Company and the first generation of tourist photographers established new standards for personal archiving that amplified the individual's role in authoring the national narrative. But not everyone had equal access to travel and tourism, and many members of the African American, Native American, and gay and lesbian communities used the camera to counter the racism, homophobia, and classism that shaped public spaces.In this groundbreaking history, Tammy S. Gordon tells the story of the camera's emerging centrality in leisure travel across the late nineteenth and early twentieth centuries and its role in "the mass production of memory," a process in which users crafted a visual archive attesting to their experiences, values, and circumstances, setting the stage for the customizable visual culture of the digital age.

Boston National Historical Park is one of America's most popular heritage destinations, drawing in millions of visitors annually. Tourists flock there to see the site of the Boston Massacre, to relive Paul Revere's midnight ride, and to board Old Ironsides—all of these bound together by the iconic Freedom Trail, which traces the city's revolutionary saga.Making sense of the Revolution, however, was never the primary aim for the planners who reimagined Boston's heritage landscape after the Second World War. Seth C. Bruggeman demonstrates that the Freedom Trail was always largely a tourist gimmick, devised to lure affluent white Americans into downtown revival schemes, its success hinging on a narrow vision of the city's history run through with old stories about heroic white men. When Congress pressured the National Park Service to create this historical park for the nation's bicentennial celebration in 1976, these ideas seeped into its organizational logic, precluding the possibility that history might prevail over gentrification and profit.

Does it seem strange to think of a museum as a weapon in national defense?" asked John Hay Whitney, president of the Museum of Modern Art, in June 1941. As the United States entered the Second World War in the months to follow, this idea seemed far from strange to museums. Working to strike the right balance between education and patriotism, and hoping to attain greater relevance, many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument.Unsurprisingly, exhibitions served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Clarissa J. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling.

Does it seem strange to think of a museum as a weapon in national defense?" asked John Hay Whitney, president of the Museum of Modern Art, in June 1941. As the United States entered the Second World War in the months to follow, this idea seemed far from strange to museums. Working to strike the right balance between education and patriotism, and hoping to attain greater relevance, many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument.Unsurprisingly, exhibitions served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Clarissa J. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling.

Religion is a subject often overlooked or ignored by public historians. Whether they are worried about inadvertent proselytizing or fearful of contributing to America's ongoing culture wars, many heritage professionals steer clear of discussing religion's formative role in the past when they build collections, mount exhibits, and develop educational programming. Yet religious communities have long been active contributors to the nation's commemorative landscape.Exhibiting Evangelicalism provides the first account of the growth and development of historical museums created by white evangelical Christians in the United States over the twentieth and twenty-first centuries. Exploring the histories of the Museum of the Bible, the Billy Graham Center Museum, the Billy Sunday Home, and Park Street Church, Devin C. Manzullo-Thomas illustrates how these sites enabled religious leaders to develop a coherent identity for their fractious religious movement and to claim the centrality of evangelicalism to American history. In their zeal to craft a particular vision of the national past, evangelicals engaged with a variety of public history practices and techniques that made them major players in the field—including becoming early adopters of public history's experiential turn.

Religion is a subject often overlooked or ignored by public historians. Whether they are worried about inadvertent proselytizing or fearful of contributing to America's ongoing culture wars, many heritage professionals steer clear of discussing religion's formative role in the past when they build collections, mount exhibits, and develop educational programming. Yet religious communities have long been active contributors to the nation's commemorative landscape.Exhibiting Evangelicalism provides the first account of the growth and development of historical museums created by white evangelical Christians in the United States over the twentieth and twenty-first centuries. Exploring the histories of the Museum of the Bible, the Billy Graham Center Museum, the Billy Sunday Home, and Park Street Church, Devin C. Manzullo-Thomas illustrates how these sites enabled religious leaders to develop a coherent identity for their fractious religious movement and to claim the centrality of evangelicalism to American history. In their zeal to craft a particular vision of the national past, evangelicals engaged with a variety of public history practices and techniques that made them major players in the field—including becoming early adopters of public history's experiential turn.

On any given night, hundreds of guests walk the darkened streets of Colonial Williamsburg looking for ghosts. Since the early 2000s, both the museum and private companies have facilitated these hunts, offering year-round ghost tours. Critics have called these excursions a cash grab, but in truth, ghosts and hauntings have long been at the center of the Colonial Williamsburg project.The Spirit of Colonial Williamsburg examines how the past comes alive at this living-history museum. In the early twentieth century, local stories about the ghosts of former residents—among them Revolutionary War soldiers and nurses, tavern owners and prominent attorneys, and enslaved African Americans—helped to turn Williamsburg into a desirable site for historical restoration. But, for much of the twentieth century, the museum tried diligently to avoid any discussion of ghosts, considering them frivolous and lowbrow. Alena Pirok explores why historic sites have begun to embrace their spectral residents in recent decades, arguing that through them, patrons experience an emotional connection to place and a palpable understanding of the past through its people.

On any given night, hundreds of guests walk the darkened streets of Colonial Williamsburg looking for ghosts. Since the early 2000s, both the museum and private companies have facilitated these hunts, offering year-round ghost tours. Critics have called these excursions a cash grab, but in truth, ghosts and hauntings have long been at the center of the Colonial Williamsburg project.The Spirit of Colonial Williamsburg examines how the past comes alive at this living-history museum. In the early twentieth century, local stories about the ghosts of former residents—among them Revolutionary War soldiers and nurses, tavern owners and prominent attorneys, and enslaved African Americans—helped to turn Williamsburg into a desirable site for historical restoration. But, for much of the twentieth century, the museum tried diligently to avoid any discussion of ghosts, considering them frivolous and lowbrow. Alena Pirok explores why historic sites have begun to embrace their spectral residents in recent decades, arguing that through them, patrons experience an emotional connection to place and a palpable understanding of the past through its people.

The gold epaulettes that George Washington wore into battle. A Union soldier’s bloody shirt in the wake of the Civil War. A crushed wristwatch after the 9/11 attacks. The bullet-riddled door of the Pulse nightclub. Volatile and shape-shifting, relics have long played a role in memorializing the American past, acting as physical reminders of hard-won battles, mass tragedies, and political triumphs. Surveying the expanse of U.S. history, American Relics and the Politics of Public Memory shows how these objects have articulated glory, courage, and national greatness as well as horror, defeat, and oppression. While relics mostly signified heroism in the nation’s early years, increasingly, they have acquired a new purpose—commemorating victimhood. The atrocious artifacts of lynching and the looted remains of Native American graves were later transformed into shameful things, exposing ongoing racial violence and advancing calls for equality and civil rights. Matthew Dennis pursues this history of fraught public objects and assesses the emergence of new venues of memorialization, such as virtual and digital spaces. Through it all, relics continue to fundamentally ground and shape U.S. public memory in its uncertain present and future.

Trees are not just natural resources; they are also cultural ones that present unique challenges and opportunities for public historians. Trees can serve as important objects of memory, recalling past triumphs or tragedies. They can be the last living witness to important events or community stories. Trees can also be objects of preservation, sometimes as individuals, other times as stands or even forests, all of which can take on historical significance for people, sites, and institutions. But as living entities they defy the kind of permanent legal preservation applicable to buildings and other non-living historical objects. Furthermore, their organic fragility can actually make them significant problems for historical sites and local preservation activities. For example, communities have had to cope with extensive tree loss from storm and fire damage, and dying trees can drop limbs or topple over, creating considerable danger to people and resources. Climate-change-driven increasing storm intensity has also highlighted the ways that trees—however historical or beloved—can become considerable threats.The fourteen new, previously unpublished essays in this volume explore the many ways that trees are an integral part of public history practice and sites. The authors draw on a range of approaches and historiographies to look at how memories of race-based hate, patriotic stories, community identities, and changed places all have centered on trees. In addition to contributions from the volume editors, this collection features scholarship by Sonja DÜmpelmann Andrew Hurley, Carolyn M. Barske Crawford, Brian Dempsey, Liz Sargent, Sasha Coles, Mariaelena DiBenigno, Evan Haefeli, Krista McCracken, Alena Pirok, Christian Kosmas Mayer Alaina Scapicchio, and David Glassberg.

Trees are not just natural resources; they are also cultural ones that present unique challenges and opportunities for public historians. Trees can serve as important objects of memory, recalling past triumphs or tragedies. They can be the last living witness to important events or community stories. Trees can also be objects of preservation, sometimes as individuals, other times as stands or even forests, all of which can take on historical significance for people, sites, and institutions. But as living entities they defy the kind of permanent legal preservation applicable to buildings and other non-living historical objects. Furthermore, their organic fragility can actually make them significant problems for historical sites and local preservation activities. For example, communities have had to cope with extensive tree loss from storm and fire damage, and dying trees can drop limbs or topple over, creating considerable danger to people and resources. Climate-change-driven increasing storm intensity has also highlighted the ways that trees—however historical or beloved—can become considerable threats.The fourteen new, previously unpublished essays in this volume explore the many ways that trees are an integral part of public history practice and sites. The authors draw on a range of approaches and historiographies to look at how memories of race-based hate, patriotic stories, community identities, and changed places all have centered on trees. In addition to contributions from the volume editors, this collection features scholarship by Sonja DÜmpelmann Andrew Hurley, Carolyn M. Barske Crawford, Brian Dempsey, Liz Sargent, Sasha Coles, Mariaelena DiBenigno, Evan Haefeli, Krista McCracken, Alena Pirok, Christian Kosmas Mayer Alaina Scapicchio, and David Glassberg.

German Memorials, Motifs, and Meanings offers a unique cultural history of German memorialization. The book focuses not on a single, isolated era, but rather on enduring memorial motifs—enchanted stones, magical trees, raised fists, stone circles, and similar evocative symbols derived from myth, folklore, Christianity, national iconography, and post-Holocaust imagery. It thus takes a long-duration perspective, sweeping across the centuries to explore abiding themes such as death, rebirth, and redemption; violence and reconciliation; and sacrifice, identity, and community. Along with a consideration of the historical and social circumstances of each memorial and its motifs, author Jennifer Hansen-Glucklich answers the questions of why and how these cultural markers survive the passage of time and how they endure amidst cultural, social, and political upheavals that include the rise and fall of empires, catastrophes of war and occupation, and genesis of new national identities. She uniquely focuses on lesser-known or unknown memorials found either in smaller German cities or tucked away in villages and hamlets.  These memorials tell colorful, often ambiguous and problematic stories in contrast to the vaunted monuments of Germany’s post-WWII era, such as Berlin’s Memorial to the Murdered Jews of Europe. Through vivid descriptions and deep analysis of the narratives and aesthetics of key monuments and motifs, Hansen-Glucklich details the remarkable story of German memorial culture from medieval times to the present day.

Exploring how the New Deal shaped history through politically driven commemoration During the Great Depression, Americans employed historic preservation as a tool to address the political, economic, and social upheavals of the era. Inspired by the Roosevelt administration's unprecedented support of federal arts projects, US politicians, architects, laborers, artisans, and local boosters skillfully used New Deal funds to restore, mythologize, and politicize the 'historic shrines' in their communities. Restoring America illustrates how and why Americans turned to historic preservation as a strategy for managing both political realities and ambitions. Stephanie Gray presents four thoroughly researched and diverse case studies: a colonial theater in the Deep South, a Puritan minister's home in New England, aviator Charles Lindbergh's modest farmhouse and parklands of the Upper Midwest, and a multi-layered Spanish-German-Mexican arts village in the Central South. Collectively, these examples show how the restoration of old places emerged as a popular form of cultural production, an instrument of economic reconstruction, and a striking expression of political theater during the Depression. Moreover, these New Deal preservation projects make evident that any exercise in physically preserving the past is both conservative and progressive, reactive and proactive. Restoring America contends that the federally funded and locally driven preservation initiatives of the 1930s and 1940s can help inform contemporary public history debates over the politics of commemoration and imagine possibilities for future preservation practice.

Exploring how the New Deal shaped history through politically driven commemoration During the Great Depression, Americans employed historic preservation as a tool to address the political, economic, and social upheavals of the era. Inspired by the Roosevelt administration's unprecedented support of federal arts projects, US politicians, architects, laborers, artisans, and local boosters skillfully used New Deal funds to restore, mythologize, and politicize the 'historic shrines' in their communities. Restoring America illustrates how and why Americans turned to historic preservation as a strategy for managing both political realities and ambitions. Stephanie Gray presents four thoroughly researched and diverse case studies: a colonial theater in the Deep South, a Puritan minister's home in New England, aviator Charles Lindbergh's modest farmhouse and parklands of the Upper Midwest, and a multi-layered Spanish-German-Mexican arts village in the Central South. Collectively, these examples show how the restoration of old places emerged as a popular form of cultural production, an instrument of economic reconstruction, and a striking expression of political theater during the Depression. Moreover, these New Deal preservation projects make evident that any exercise in physically preserving the past is both conservative and progressive, reactive and proactive. Restoring America contends that the federally funded and locally driven preservation initiatives of the 1930s and 1940s can help inform contemporary public history debates over the politics of commemoration and imagine possibilities for future preservation practice.

The Innovation and influence of the first children’s museums in the USWhen it opened in 1899, the Brooklyn Children’s Museum greeted visitors with a new experience. Rather than carefully ensconcing artifacts and curios behind protective glass, the staff took the unusual step of moving the objects out of their cases and into the hands of the children, inviting them to “please touch.” Born out of the reformist spirit of the Progressive Era, the museum represented a new kind of institution, one whose primary purpose was not to collect, preserve, and display objects but rather to educate a specific audience. Over the next twenty-five years, three other children’s museums opened with a similar mission and approach: the Boston Children’s Museum (1913), the Detroit Children’s Museum (1917), and The Children’s Museum of Indianapolis (1925).At a time when most museums were led by men, women played a critical role in overseeing this first wave of children’s museums. As the number of children’s museums grew, women rose to prominence in the museum profession at large, advocating for new ways for institutions to interact with and serve their audiences. By 1965, the children’s museum movement had succeeded in demonstrating rich rewards and had influenced all types of museums and continues to do so to this day.Drawing on archival materials, newspaper accounts, and the writings of museum workers and professionals, Please Touch carefully chronicles the early histories of these four seminal children’s museums. Jessie Swigger provides thorough institutional histories of each and connects them to broader currents in education, such as the Progressive education movement, and to key events in early- to mid-twentieth-century US history, including immigration, the Great Depression, World Wars I and II, and the Cold War. She also demonstrates how these institutions were fundamentally shaped by women’s leadership, and how they challenged and expanded the definition of museums and pressed museum practices in new directions.