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1.
Ken Yellis 《Curator: The Museum Journal》2010,53(1):87-103
There are an estimated 17,500 museums in the United States. If people think these institutions are pretty much the same once you get inside or that the differences between them are unimportant, it might be hard to persuade them that all 17,500 are needed. Exhibitions can have great transformational power; why don’t they exercise that power more often? Have museums not fully understood exhibitions as a medium? Have we not devoted enough attention to the full repertoire of visitor feelings? Have visitors been telling us this and we have failed to listen? For many people, museums play many roles in their lives; for most others few or none. How can this be? “Museum‐adept” visitors seem to prize museums as theaters in which their own emotional and spiritual journeys can be staged, but what about the non‐museum‐adept? Can the museum‐adept teach us how to realize our medium’s full potential? 相似文献
2.
How do visitors to fine art museums experience exhibitions? Can we classify their experiences? What are the factors that drive different types of visitor experience? We set out to answer these questions by analyzing from sociological, psychological, physiological, and behavioral perspectives the responses of 576 visitors to a special exhibition 11: 1 (+ 3) = Eleven Collections for One Museum mounted at the Kunstmuseum St. Gallen, Switzerland, from June to August 2009. Our five‐year research project, eMotion: Mapping the Museum Experience, interpreted computer‐modeled movement‐tracking and physiological maps of the visitors in complement with entrance and exit surveys. We tested individual aspects of the visitor, such as her or his expectations of the exhibition prior to seeing it; his or her socio‐demographic characteristics; her or his affinity for art, mood just before and receptivity just after the visit; and spatial, individual, and group‐related behavior patterns. Our study breaks down three types of exhibition experience that we call “the contemplative,” “the enthusing,” and “the social experience.” The results yield new information about aesthetic arousal, cognitive reaction, patterns of social behavior, and the diverse elements of the exhibition experience. 相似文献
3.
Andrew J. Pekarik James B. Schreiber Nadine Hanemann Kelly Richmond Barbara Mogel 《Curator: The Museum Journal》2014,57(1):5-27
The theory and practice of IPOP emerged from structured observations and interviews with visitors to the Smithsonian Institution museums in Washington, D.C. from the 1990s to the present—a dataset useful in constructing a long view. This research has had one overarching intention: to serve museum visitors better, that is, to provide visitors with experiences that are above average, special, significant, and memorable. In numerous studies and interviews during the last 16 years, visitors have repeatedly spoken about their reactions to Smithsonian museum exhibitions in four typologies distilling their primary interests: I = ideas, P = people, O = objects, and—as we were obliged to add at a later stage—a second P for “physical.” The evidence suggests that exhibitions that strongly appeal to all four visitor typologies will be highly successful with visitors. 相似文献
4.
Collaborative exhibitions built by aboriginal communities and museums often seek to reposition aboriginal peoples as the authors and experts of their cultures, and to assert their active and continued presence in the contemporary world. This article explores the impact of collaborative exhibitions on museum visitors' experiences and their potential to reshape the public's perception of aboriginal peoples. Interviews conducted with visitors to Nitsitapiisinni: Our Way of Life, a permanent exhibition created by Blackfoot Elders and museum staff at the Glenbow Museum in Calgary, Alberta, Canada, demonstrate that museum visitors rarely recognized the extent of the collaboration, and thus rarely equated Nitsitapiisinni with concepts of self‐representation or self‐determination. However, other messages were successfully communicated to museum visitors, namely the impact of colonialism, the efforts to revitalize Blackfoot culture, and the importance of Blackfoot spirituality. This study provides some interesting insights about public perceptions that will help promote deeper reflection on the issues surrounding collaboratively developed exhibitions and the first‐person authorship of First Nations cultures. 相似文献
5.
George E. Hein 《Curator: The Museum Journal》2006,49(2):181-203
Abstract John Dewey's lifework was to create a philosophy that encompassed both life‐experience and thought. He attempted to construct a philosophical system that incorporated life as it is lived, not in some ideal form. He rejected all dualisms, such as those between thought and action, fine and applied arts, or stimulus and response. An analysis of “experience” (defined as almost synonymous with “culture”) is central to Dewey's writing and leads him to emphasize process, continuity, and development, rather than static, absolute concepts. This paper examines the significance of Dewey's educational views for museum exhibitions and education programs, and his complex definitions of relevant concepts, with special emphasis on his interpretation of “experience.” Dewey's faith in democracy and his moral philosophy require that the value of any educational activity depends on its social consequences as well as its intellectual content, a proposition that is discussed and applied to museums. This argument suggests that exhibitions and programs can strengthen democracy by promoting skills that improve visitors' ability to become critical thinkers and by directly addressing controversial issues, taking the side of social justice and democracy. 相似文献
6.
Jan Packer 《Curator: The Museum Journal》2008,51(1):33-54
Abstract This paper explores the beneficial outcomes that visitors seek and obtain from a museum visit, in terms that are not related to learning outcomes. It uses a deductive qualitative approach to investigate the meaning and value of a museum visit from the visitors' perspective. Three different levels of the meaning of the experience are considered: the attributes of the setting that visitors value; the experiences they engage in; and the benefits they derive. The findings confirm the importance of the “satisfying experiences” framework for understanding visitor experiences in museums, and extend this understanding in relation to the beneficial outcomes these experiences produce. The study also highlights the importance of “restoration” as an outcome of a museum visit. It is argued that the concept of the museum as a restorative environment, which enables visitors to relax and recover from the stresses of life, is worthy of further research attention. These insights will enable museum practitioners to better understand and meet their visitors' multiple needs and expectations. 相似文献
7.
TOM HENNES 《Curator: The Museum Journal》2002,45(2):109-121
The purposes of museums and those of their visitors often have little in common—despite the growing body of knowledge about museum learning and visitors' motivations. Based on concepts of experiential learning envisioned a century ago by the American educator and philosopher John Dewey, this paper explores bringing those purposes into closer alignment. A re‐evaluation of several factors—including criteria of experience, content organization, and the nature of inquiry—could lead to exhibitions more closely aligned with visitors' processes of self‐motivated activity and museums' goals for informal learning. One way is to shape exhibits and activity around problematical situations developed out of the exhibit experience itself and shaped by visitors' own purposes. By shifting focus from knowledge taxonomies to problem‐solving situations, museums could increase their exhibitions' potential for providing engaging educational experiences to visitors. 相似文献
8.
Bonnie J. Morris 《Curator: The Museum Journal》2011,54(3):243-252
Abstract This article examines the writing left in “comments” books at thought‐provoking museum exhibitions. What moves a visitor to share criticism, praise, political invective, or spiritual reflections in a public place where the writing is guaranteed to be seen by others? In a world transformed by text messaging and online communication, museum guestbooks are one of the few remaining opportunities to share hand‐written insights. Do visitors have a learning curve? Some leave inappropriate, even hateful remarks. By comparing the different moods of comments books at a variety of installations, this essay pays tribute to the legacies of public dialogue in museums, a medium of free speech made possible by a simple blank book. 相似文献
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10.
Monique Scott 《Curator: The Museum Journal》2005,48(1):74-89
This article explores the question of how transnational audiences experience anthropology exhibitions in particular, and the natural history museum overall. Of interest are the ways in which natural history museums reconcile anthropological notions of humanity's shared evolutionary history—in particular, African origins accounts—with visitors' complex cultural identities. Through case studies of British, American, and Kenyan museum audiences, this research probed the cultural preconceptions that museum visitors bring to the museum and use to interpret their evolutionary heritage. The research took special notice of audiences of African descent, and their experiences in origins exhibitions and the natural history museums that house them. The article aims to draw connections between natural history museums and the dynamic ways in which museum visitors make meaning. As museums play an increasing role in the transnational homogenization of cultures, human origins exhibitions are increasingly challenged to communicate an evolutionary prehistory that we collectively share, while validating the cultural histories that make us unique. 相似文献
11.
Pamela Carter‐Birken 《Curator: The Museum Journal》2008,51(2):171-178
Abstract What does the term “interpretation” mean when it's encountered in museums of modern and contemporary art — and is something missing? Studies conducted by the Phillips Collection in Washington, D.C., the Walker Art Center in Minneapolis, and the University of Leicester in England reveal that visitors want more information about art. In this article, interviews with the directors of the Phillips and the Walker (as well as other museum professionals and academics) examine interpretative practices today and suggest plans for tomorrow. When preparing future interpretive materials, the author advocates that museums expose visitors to the idea that they make their own meaning when viewing art. 相似文献
12.
Tom Hennes 《Curator: The Museum Journal》2012,55(2):129-138
Abstract Ken Waliaula’s essay in this issue, Remembering and Disremembering in Africa, acutely observes the interaction of individual memory with what has been remembered and “disremembered” (willfully erased) by local communities and larger national political structures in Kenya. His reflections on the way society deals with memory offer valuable insight into museum‐making. Exhibitions can accommodate the fuller range of complexity, meaning, and interpretation that is reflective of real history as experienced from the range of perspectives Waliaula describes. To create such exhibitions, museum professionals need to adopt methods of collection and curation that differ from the common practice of “telling the story” in favor of incorporating greater narrative variety that embodies the complex contradictions of events that become history. By doing so, museums may better equip their users to share interpretive authority and experience a greater sense of authenticity within the exhibition. 相似文献
13.
Volker Kirchberg 《Curator: The Museum Journal》2007,50(2):239-254
Abstract Sociologists have described “scenes” as voluntary social groupings or figurations that are “… thematically focused cultural networks of people who share certain material and/or cognitive forms of collective stylization,” according to Hitzler, Bucher, and Niederbacher (2001, 20). This terminology is quite useful for thinking about Stephen Weil's assertion that visitors play a role in shaping museums. Through “scenes,” we see how this might happen, and how visitors might already be exerting subtle pressure on the forms and contents of museums. The study of scenes could help us develop a tool that would offer a unique vision of the influences that visitors have on museums. 相似文献
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15.
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
16.
ELANA KALISHER 《Curator: The Museum Journal》1998,41(1):13-35
In accordance with the Rehabilitation Act of 1973 and with the Americans with Disabilities Act of 1990, museums serve their deaf visitors by offering assistance through accessibility programs designed specifically to provide access to the museum, its collections, and/or information in an exhibition or program that would otherwise be unattainable by a person with a disability. Accessibility provisions such as signed tours, TTYs, and subtitled audio information have helped deaf people experience and enjoy museums. While these programs and provisions are necessary museum services, they do not acknowledge the view of many Deaf people—that they are not disabled but rather members of a community that does not hear. Nor do accessibility programs generally include programs on the shared traditions, values, and language that make up the culture of the Deaf community. This paper seeks to introduce museum professionals to the Deaf cultural community and Deaf cultural exhibitions that celebrate the history, achievements, and tradition of Deaf people; it offers steps to follow in planning such exhibitions and provides some examples. 相似文献
17.
Jay Rounds 《Curator: The Museum Journal》2004,47(4):389-412
Tracking studies show that museum visitors typically view only 20 to 40 percent of an exhibition. Current literature states that this partial use sub‐optimizes the educational benefit gained by the visitor, and that skilled visitors view an exhibition comprehensively and systematically. Contrary to that viewpoint, this paper argues that partial use of exhibitions is an intelligent and effective strategy for the visitor whose goal is to have curiosity piqued and satisfied. By using analytical approaches derived from “optimal foraging theory” in ecology, this paper demonstrates that the curiosity‐driven visitor seeks to maximize the Total Interest Value of his or her museum visit. Such visitors use a set of simple heuristics to find and focus attention only on exhibit elements with high interest value and low search costs. Their selective use of exhibit elements results in greater achievement of their own goals than would be gained by using the exhibition comprehensively. 相似文献
18.
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
19.
在当今社会,博物馆为提升全民素质起到越来越重要的作用。为了更好地发挥博物馆的社会教育功能,博物馆馆员在教育活动设计或者展览设计的过程中有必要了解观众的参观需求以及参观偏好。因此,为了体现“以观众为中心”的工作理念,作者从“观众”的视角,对一次博物馆的参观体验进行观察和反思。本次探索发现,由于观众自身所处的社会文化背景的差异,他们面对同一件展品有着不同的关注点和兴趣点。这种差异性提醒博物馆馆员在与观众进行互动的过程中,需要了解观众的不同需求和不同偏好。并且,这种参观视角的多样性也为博物馆的教育工作提供了创意的源泉。 相似文献
20.
Lesley A. Langa Pino Monaco Mega Subramaniam Paul T. Jaeger Katie Shanahan Beth Ziebarth 《Curator: The Museum Journal》2013,56(3):323-335
Through a partnership with a local school, the Smithsonian Institution and the Information Policy and Access Center at the University of Maryland conducted an exploratory study to examine the motivations and needs of families visiting museums with children with Autism Spectrum Disorders (ASDs). This study represents one of the first undertakings to study visitors with ASDs, especially children, through a primarily qualitative data collection. Interest‐driven enjoyment emerged as a primary motivation, though to relax and to socialize outside of the family boundaries were not ranked as important motives for visiting museums. Children, who were directly interviewed, gave positive assessments of their museum experiences, while parents commented that challenges, both museum‐ and family‐related (crowds, loud noise, not feeling welcome, and a child's unpredictable behavior) surfaced in public settings like museums. Parents desired a “typical family outing” with their ASDs child, stating that manageable and safe environments helped families experience a museum. 相似文献