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1.
George E. Hein 《Curator: The Museum Journal》2004,47(4):413-427
Abstract Although John Dewey's educational concepts have been discussed previously in relation to museums, his own writing about museums has received little attention. Dewey, who visited museums frequently throughout his life, recognized the powerful educational value of museums. He assigned a central role to museums as integrative components of raw experiences in his educational theory, and he made extensive use of student visits to museums at the Chicago Laboratory School. Early twentieth‐century museum educators and directors applied Dewey's ideas, and advocated a museum education philosophy, based on the progressive education movement, that has significance for current exhibition and educational practice. 相似文献
2.
Lisa Sita 《Curator: The Museum Journal》1997,40(2):101-107
As natural history museums are becoming more state-of-the-art, integrating computer technology and other interactive components into their exhibits, challenges arise as to how best incorporate these elements into the learning that occurs in a traditional museum setting. In October of 1996, the American Museum of Natural History (AMNH) hosted the exhibition Leonardo's Codex Leicester: A Masterpiece of Science, which included interactive computer stations as well as ten working models designed specifically for the exhibition. This article explores the museum's approach to making use of these interactives in planning and implementing a school program for this exhibition. The program was experimental in its format, given the short run of this exhibition, as well as limited planning time. The purpose of this article is to determine what a museum can do to offer quality programs that reach as many students as possible when working under time constraints. 相似文献
3.
Susan Mancino 《Curator: The Museum Journal》2016,59(2):141-152
Throughout their history, museums have performed diverse public services: from preservation, collection, and exhibition, to interpretation, education, and civic engagement. As Stephen E. Weil ( 2002 ) explains, since the mid‐twentieth century, museums have experienced two major revolutions. First, a revolution in focus from collection‐oriented to visitor‐oriented practices, and second, a revolution in public expectations as museums secured a position within the nonprofit sector (81–82). With competition for public, private, and philanthropic support resting upon measurable results, the evaluation of museums depends upon its ability to “accomplish its purpose” (5). However, the question remains: what is the museum's purpose? Which is the more important: collection and artifact preservation, or public engagement and education? An overview of museum practices reveals a multiplicity of professional tasks distributed among three imperatives: preservation, scholarship, and programming (Weil 2002 , 11). The competition for resources devoted to each of these imperatives can spark controversy—particularly if museum professionals answer the question of the purpose of museums differently. Organizational communication scholar, Janie M. Harden Fritz, developed a theoretical framework that seeks to respond to such controversies in Professional Civility: Communicating Virtue at Work. This essay considers Fritz's “professional civility” in the context of the American museum sector, lending insight to the question of museum purpose and function. 相似文献
4.
Alcina Cortez 《Curator: The Museum Journal》2016,59(2):153-176
Popular music is deeply embedded in the dynamics of the contemporary world by means of its capacity to engender modes of privacy and publicness, to communicate emotion, and to enable us to create connections—and so to work within communities. Museums have traditionally addressed art‐music through the exhibition of musical instruments. But now that the exhibition of popular music has presented new challenges and opportunities worldwide for museum professionals, examining popular music discourses in museums is of the utmost importance in order for it to be meaningfully celebrated as instances of heritage. This paper expands on the representation of Popular Music in museums in Portugal at the beginning of the twenty‐first century by discussing a case study: the exhibition No Tempo do Gira‐Discos: Um Percurso Pela Produção Fonográfica Portuguesa at Museu Nacional da Música, Lisbon, Portugal, in 2007. Two methods of analysis are deployed: interviews with the curators, which revealed insights on their understanding of popular music, and analysis of the exhibition through discourse analysis, specifically through the lens of the analytical concepts genre and register. Although the curators had themselves previously developed insightful and innovative concepts with regard to popular music, discourse analysis reveals how, in this instance, the museum practices were primarily inherited from past traditions, and so failed to convey the meanings previously envisioned by the curators. In order for genuine public engagement with museum exhibitions about music, a collaboration is required between the music studies and museum studies professionals. Only through such a collaboration can it be ensured that those contemporary dynamics are present and meaningful. 相似文献
5.
张昱 《自然科学博物馆研究》2017,2(4):86-91
展览是博物馆的核心工作之一,也是博物馆服务社会最普遍和最直接的途径。《博物馆展览策划:理念与实务》一书作者结合多年的博物馆理论研究和博物馆展览策划实践经验,直击当下我国博物馆展览策划的核心问题,对现代博物馆陈列展览策划所应遵循的理念、工作流程和工作规范进行了详细阐述,为当前及未来一段时期内我国博物馆的展览策划工作提出了极为具象的实践指南。 相似文献
6.
地球科学以地球为研究对象,是自然科学的一个重要组成部分,也是自然科学博物馆必不可少的展览内容之一。由于其涉及的范围较广,分支较多,在博物馆展览陈列的设计与布展中也面临着许多挑战。特别是目前我国博物馆事业进入了新的发展阶段,对地球科学的展览陈列也提出了新的要求。本文以2019年完成提质升级的湖南省地质博物馆地球奥秘厅为例,通过贴合时代发展的展览主题策划,将二元叙事结构运用于地球科学展览,在展览设计中探索性地采用了媒体化的途径与方法,为地球科学展览的策划和设计实践提供一种新的方式。 相似文献
7.
博物馆学习的研究成果表明,展览除了可以通过自身的内容来对观众施加影响之外,环境设计也同样会对观众的参观效果产生影响。因此,合理评估展览环境的效果、并针对性地发现环境设计中的不足之处,将有助于展览提升总体的教育效果和观众的参观体验。本文以2017—2018年间在山东博物馆所进行的一系列博物馆学习相关研究与展览评估实践为基础,从观众的注意力水平入手,计算展厅中各个区域的“吸引力”,进而实现对展览环境效果的评估。此外,在这一过程中发现,展厅环境中的“展线”与“照明”设计,对观众的学习效果有潜在影响,值得引起博物馆在环境设计时的关注。 相似文献
8.
Portia James 《Curator: The Museum Journal》1996,39(1):19-44
A historian explores the construction of Anacostia Museum's identity from the 1960s to the present by examining the history of its exhibitions. Direct community accessibility was part of the museum's founding mission, but Smithsonian administration, museum staff, and community residents all seemed to have different ideas about the meaning of the “neighborhood museum” concept. Designated a “Smithsonian outpost,” and intended to draw African-American visitors to the Smithsonian museums on the Mall, the new museum's mission was instead shaped by community advisory groups to focus broadly on African-American history and culture. Staff efforts to “professionalize” and upgrade museum operations later threatened community access to the exhibition-development process, and most community/museum interaction was relegated to the program and outreach activities of the education department. The 1994 Black Mosaic exhibition provided an opportunity to devise new ways of integrating the perspectives of a changed community into the exhibition-development process. 相似文献
9.
《Curator: The Museum Journal》2017,60(4):467-487
This paper contextualizes the Stanley Kubrick exhibition, a worldwide exhibition tour program dedicated to showcasing the complete oeuvre of the filmmaker Stanley Kubrick, within ‘post‐cinematic’ conditions. Since the mid‐1990s, the formal and experiential components of the cinema in the 20th century have increasingly become displaced from the traditional apparatus and site and ‘relocated’ within new technological and institutional platforms, and museums have become one of those new sites for content consumption. The paper discusses both the limitations and possibilities of the exhibition as it is considered to represent the migration of cinema into the art museum context as one salient phenomenon of post‐cinematic conditions. The Kubrick exhibition is explored to uncover the underlying tensions of the ‘exhibition of cinema’ as a key trend of major international museums, between the movie theater as black box and the art museum's exhibition space as white cube. It considers the difference between these two institutional platforms and their conceptions of objecthood, artifact and the temporal economy of the viewing experience. The author argues that this event succeeds in realizing the possibilities for revivifying three constants of cinema: film auteur, cinematic apparatus, and intermediality. The ambivalence demonstrates that while the museum's exhibition of cinema inevitably removes some of its ontological essences, it also preserves and revivifies others. 相似文献
10.
University‐based natural history museums are specialized cultural institutions that serve diverse constituencies. On one hand, these museums promote scientific research and collections through the work of curators and students and must advance the universities' missions. On the other hand, they must provide exhibition and public programs for the local community, or if they are a state museum, serve the citizens of the entire state through these activities. The challenge for university‐based natural history museums is to achieve a balance among their activities and services, given available resources. In the twenty‐first century, university natural history museums must further adapt by promoting social awareness of topics such as biodiversity and fostering learning in informal and formal settings. The Florida Museum of Natural History, an official State museum located at the University of Florida, is a prime example of a comprehensive university museum with a broad spectrum of programs that promote and enhance learning activities. 相似文献
11.
Jeanette Clarkin‐Phillips Margaret Carr Rebecca Thomas Maiangi Waitai Joanne Lowe 《Curator: The Museum Journal》2013,56(4):407-420
Studies exploring very young children visiting museums and art galleries are few. The majority of research about museum and gallery visitors explores family group interactions. This paper examines the findings of a study involving three‐ and four‐year‐old children visiting an art exhibition in a national museum on more than one occasion. The children's construction of knowledge about being a museum visitor and exhibitor indicates their ability to develop an appreciation of art and an understanding of the purposes of museums and art galleries. 相似文献
12.
Abstract In 1999, the first author and his colleagues at the Smithsonian Institution published an article in Curator: The Museum Journal introducing research on the experiences visitors find satisfying in museums. Subsequent data collection has expanded on these findings, as this Research Note will elucidate. In general, the team found that experiences that visitors were looking forward to on entrance tended to have a distribution similar to that of the experiences they found satisfying on exit. The aim of this note is to present data that demonstrates this consistency, and to observe that visitors’ expectations that they would have certain types of experiences upon entering a museum or exhibition were a much larger factor in determining their responses than were minor differences in museum or exhibition content or presentation. In other words, on the whole they came in knowing what experiences they expected, and they left having found them, regardless of what museum personnel presented to them inside. 相似文献
13.
Edith Doron 《Curator: The Museum Journal》2009,52(2):169-182
Abstract Describing actual museum‐wide events developed for the culturally charged arena of the Brooklyn Children's Museum, this article explores the philosophical and pedagogical double binds that have brought multiculturalism to a political impasse. Museums have strived to be valued resources in an increasingly diverse society. In aspiring to broaden their audience base, their work has shifted from developing educational policies that are “object‐centered” to those that are “community‐centered” — a change of strategy affecting everything from programs to exhibit design. Children's museums — distinct (if not marginalized) from the serious work of the traditional art or ethnographic or natural history museum — know and indeed say in their very name — “children's museum” — that they are for the sake of someone and not about something. They have always already been attuned to the visitor at the threshold. 相似文献
14.
Sally Anne Duncan 《Curator: The Museum Journal》2005,48(3):301-316
Speculation about the character and purposes of American art museums has occasioned intense debate since their inception—never more so than today. Whether to be elitist or populist, object‐based or audience‐based forms the crux of many heated arguments. This article asserts that, in the midst of competing philosophies, the successful American art museum has in reality grown from an amalgam of ideas that form a via media or middle path, far more inclusive and pragmatic than is usually noted. This comprehensive philosophy is most effectively demonstrated in the work of Henry Watson Kent at the Metropolitan Museum of Art in New York during the first decades of the twentieth century. The work of Kent and his colleagues at the Metropolitan Museum is here examined as a paradigm for the via media museum practice that speaks to the aspirations of America's current art museum leadership. 相似文献
15.
This article presents a case study of the design, development and evaluation of a science museum exhibition called Planetary Landscapes: Sculpting the Solar System. The exhibition was created by Chabot Space and Science Center in Oakland, California, in collaboration with the artist Ned Kahn. (A slightly smaller version has been traveling to science museums around the country, and has been sent to the Middle East and Asia.) This exhibition affords a chance to explore the work of a gifted artist as he seeks to merge art and science and create beautiful inquiry‐based exhibits. The story also relates how a museum design team and an evaluation team sought to support the exhibition design in ways that would augment and not interfere with the expertise of the artist. 相似文献
16.
SALLY ANNE DUNCAN 《Curator: The Museum Journal》2002,45(2):93-108
A recent lecture series at the Harvard University Art Museums titled “Art Museums and the Public Trust” marked the eightieth anniversary of the founding of Harvard's famed Museum Course. A graduate seminar begun in 1921 by the Fogg Art Museum's associate director, Paul J. Sachs, the Museum Course became the primary training ground for art museum leadership in the first half of the twentieth century. The 2001 commemorative lecture series was intended to foster a healthy debate on the place of the art museum in Anglo‐American culture. Instead, the speakers, veteran directors of America's and England's most prestigious art museums, invariably returned to one concern: authority—theirs and that of the art museum itself in contemporary society. Authority was at the heart of the Museum Course decades earlier, tellingly explored in annual debates around two significant topics. The first debate involved the pros and cons of including period rooms in American museums. In the second, students argued about whether America's established art institutions should collect the work of living artists. Questions of how museums should respond to the interests of audiences and communities, their responsibility to contemporary artists, and the meaning of a public trust trouble America's museum leadership now as then. This article explores the common ground between the Museum Course debates of the 1930s and Harvard's recent commemorative “debates” by America's contemporary museum leaders and comments on its significance for today's museums. 相似文献
17.
18.
Janet A. Kamien 《Curator: The Museum Journal》2001,44(1):114-128
Abstract This article presents six models, from within and outside the museum profession, useful to consider when creating exhibition teams. The focus is on five roles—client, content specialist, designer, content interpreter, and project manager—and the authority and responsibility assigned to these roles in the different models. The author examines the pros and cons of the models and provides examples from museums in which they were instituted. The developer model was created at The Field Museum of Natural History to replace the team approach model. Both of these models replaced the curatorial model. The broker model was developed at The Children's Museum in Boston. From outside the museum field, the author presents the architectural model and the theatrical model. Each of the models, in differing ways, defines a process, a point of view about the expected outcomes, and assigns specific authorities and responsibilities to staff members in each of the five roles. The author argues that it is not so important which of the models is chosen for any given exhibition project, but emphasizes that the importance lies in being certain that a model be chosen and rigorously implemented. The appendix also includes a sample exhibit process document from one museum. 相似文献
19.
Ellen W. Lee 《Curator: The Museum Journal》1994,37(3):172-184
Many American and European art museums are now featuring small, highly-focused shows in their exhibition programs. In 1990, the Indianapolis Museum of Art organized an exhibition that reunited, for the first time in a century, the four landscape paintings created by neo-impressionist Georges Seurat during the last summer of his life. Using Seurat at Gravelines: The Last Landscapes as an example, this article addresses the advantages — for museums and their visitors — of the small temporary exhibition. 相似文献
20.
Carine Ayele Durand 《Curator: The Museum Journal》2010,53(4):491-500
Abstract In this study of artistic practice surrounding the development of the Pasifika Styles exhibition at the Museum of Archaeology and Anthropology (Cambridge), the author argues that certain methodologies employed in artistic practice, such as techniques of assemblage, not only suggest ways in which collaborative initiatives between museums and their communities can be realized, they also offer practical direction for the development of complementary ethnographic techniques. Interest among museum practitioners in what artists can offer museums is explored in relation to their increasing need to demonstrate their social relevance. 相似文献