Adrian Franklin – författare

Animals can tell us a lot about ourselves. The way we love them as pets, eat them for dinner, make them symbols of the nation or shun them as invaders and pests illuminates much about our society and culture. ""Animal Nation"" traces the complex relationships between animals and humans in Australia. It starts with the colonial period - when unfamiliar native animals were hunted almost to extinction and replaced with preferred species - and brings us full circle to the present when native species are protected above all others.

Anti-Museum charts the development of the anti-museum as a concept and as it has been realised in practice. Drawing on a range of case studies, including the New Museum and PS1 in New York, Mona in Australia, Art42 in Paris and Donald Judd’s Marfa, the book assesses their potential to engage museum publics in new ways.Anti-museums seek to breathe relational and theatricalised vitality into the objects they exhibit, by connecting them to the contexts of their making, to their social life outside the museum, to visitors' lives via their transformative capacities for change, and by being a place of dialogue, exchange and transformation, rather than instruction. Documenting the ways in which they have been created by artists, collectors, and curators, the book also examines the extent to which anti-museums connect with other museums through the exchange of values and resources. Critically, it asks whether, after some 40 years of ‘new museology’, such institutions are still able to offer something fresh and valuable.Anti-Museum provides a sharp and incisive account of the anti-museum as it has been imagined, realised and experienced, and as it has relevance for understanding and working in the contemporary museum world. As such, the book will be of great interest to scholars and students engaged in the study of museums, cultural economy, inclusive urban regeneration, the democratisation of art and contemporary art. It should also appeal to museum professionals around the world.

This volume provides a state-of-the-art overview of the field of more-than-human studies, bringing together contemporary and essential content from leading authors across the discipline. With attention to the intellectual history of the field, its developments and extensions, its applications and its significance to contemporary society, it presents empirical studies and theoretical work covering long-established disciplines, as well as new writing on art, history, politics, planning, architecture, research methodology and ethics. An elaboration of the various dimensions of more-than-human studies, The Routledge International Handbook of More-than-Human Studies constitutes essential reading for anyone studying or researching in this field.

This volume provides a state-of-the-art overview of the field of more-than-human studies, bringing together contemporary and essential content from leading authors across the discipline. With attention to the intellectual history of the field, its developments and extensions, its applications and its significance to contemporary society, it presents empirical studies and theoretical work covering long-established disciplines, as well as new writing on art, history, politics, planning, architecture, research methodology and ethics. An elaboration of the various dimensions of more-than-human studies, The Routledge International Handbook of More-than-Human Studies constitutes essential reading for anyone studying or researching in this field.

Anti-Museum charts the development of the anti-museum as a concept and as it has been realised in practice. Drawing on a range of case studies, including the New Museum and PS1 in New York, Mona in Australia, Art42 in Paris and Donald Judd’s Marfa, the book assesses their potential to engage museum publics in new ways.Anti-museums seek to breathe relational and theatricalised vitality into the objects they exhibit, by connecting them to the contexts of their making, to their social life outside the museum, to visitors' lives via their transformative capacities for change, and by being a place of dialogue, exchange and transformation, rather than instruction. Documenting the ways in which they have been created by artists, collectors, and curators, the book also examines the extent to which anti-museums connect with other museums through the exchange of values and resources. Critically, it asks whether, after some 40 years of ‘new museology’, such institutions are still able to offer something fresh and valuable.Anti-Museum provides a sharp and incisive account of the anti-museum as it has been imagined, realised and experienced, and as it has relevance for understanding and working in the contemporary museum world. As such, the book will be of great interest to scholars and students engaged in the study of museums, cultural economy, inclusive urban regeneration, the democratisation of art and contemporary art. It should also appeal to museum professionals around the world.