共查询到20条相似文献，搜索用时 31 毫秒
1.
Andrew J. Pekarik 《Curator: The Museum Journal》2010,53(1):105-115
The ways that museums measure the success of their exhibitions reveal their attitudes and values. Are they striving to control visitors so that people will experience what the museum wants? Or are they working to support visitors, who seek to find their own path? The type of approach known as “outcome‐based evaluation” weighs in on the side of control. These outcomes are sometimes codified and limited to some half‐dozen or so “learning objectives” or “impact categories.” In essence, those who follow this approach are committed to creating exhibitions that will tell visitors what they must experience. Yet people come to museums to construct something new and personally meaningful (and perhaps unexpected or unpredictable) for themselves. They come for their own reasons, see the world through their own frameworks, and may resist (and even resent) attempts to shape their experience. How can museums design and evaluate exhibitions that seek to support visitors rather than control them? How can museum professionals cultivate “not knowing” as a motivation for improving what they do? 相似文献
2.
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
3.
Jane C. Ju 《Curator: The Museum Journal》2014,57(1):61-80
To understand the major shift in Americans' attitudes about Chinese art between the nineteenth and twentieth centuries, it is essential to know not only what the American collectors thought, but also the social history of these collectors and their agents. Since the advent of the field of material culture studies, scholars have begun to look at museum objects, whether as art or not, from the perspective of different lives—that of their makers and users. It seems that the lack of “great” Chinese paintings in American museums before the twentieth century may be due to the fact that the nineteenth century American collectors and their Chinese agents differed from their twentieth century counterparts in what they regarded as “great,” what they thought was “Chinese,” and what they defined as “paintings.” 相似文献
4.
Tom Hennes 《Curator: The Museum Journal》2007,50(1):87-108
Abstract Interviews conducted during the summer of 2006 with people in and around the international museum community suggest that the interests natural history museums share in common with each other and with other kinds of organizations and communities are creating an array of new links across institutional, social and cultural boundaries. These links are active, complex, networked relationships directed toward common purposes. Museums that are taking advantage of this emerging environment are becoming “hyperconnected hubs” across which knowledge is exchanged and action initiated. In forging a multitude of “weak ties” outward at different institutional levels, museums are finding that their shared activity with others brings to themselves new and often unexpected value across the “strong ties” that bind them together internally as institutions. Those natural history museums most able to participate as members of larger, interconnected entities are finding powerful new opportunities to more vigorously engage the world they study and the constituencies they serve. In the process, they are becoming increasingly open, active and relevant. 相似文献
5.
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
6.
William Casement 《Curator: The Museum Journal》2015,58(3):335-350
Since the mid‐twentieth century, special exhibitions of art forgeries have appeared in many museums in the United States and Europe. These exhibitions have displayed artworks of many kinds, and have been structured around a variety of objectives and methodologies to engage the public. Fundamentally, they inform that public about an uncomfortable reality: that artistic deception is more common than they may think. The collective phenomenon of these forums displaying faux art has reached a point at which it is a topic worthy of study. This article draws upon representative examples of exhibitions of fake art to present an overview of their “what,” “why,” and “how” in light of commonalities and differences among them. It furthermore traces a loose historical pattern in these exhibitions that shows change over time as well as continuity. 相似文献
7.
Peter Schirmbeck 《Curator: The Museum Journal》2006,49(1):37-44
Museums have the fine task of collecting and preserving history for future generations. By presenting the collections to the public, museums not only document different epochs but also try to look at them via new aspects, widening cultural understanding. In the Municipal Museum of Rüsselsheim, German industrial culture in the Rhine‐Main region is described and understood as a “route” that serves as a conceptual key identifying crucial architectural, historical and cultural resources of the region. In this cultural model, past, present and future are directly intertwined, and the invisible door between the world of museums and the “outside” world has vanished. 相似文献
8.
Anne Butterfield 《Curator: The Museum Journal》2001,44(1):35-46
Abstract Museums have become adept at working with giving allies in foundations, corporations and government agencies who prefer to make grants for specific projects. This works well for discreet activities such as planning an exhibition, cataloguing a collection, or setting up a new store designed to eventually strengthen earned income. It even worked well as museums began to experiment with creating new products such as curriculum kits that would “reach out” to specialized audiences. However, truly providing museum‐wide public service for a broad audience and creating social capital in our communities is not a discreet project, therefore the project‐funding model can thwart the mutual goals museums and institutional funders are trying to achieve. This article explores the problem and suggests that museums work with philanthropic allies to find better ways to create and sustain true public service. 相似文献
9.
Abstract This paper presents some personal perceptions about “drivers of change,” which have impacted the role and nature of museums since the 1980s, leading to the rise of the visitor‐centered museum. Such changes mirror developments occurring in society. In the case of museums, a decline in public funding has occurred at a time when increased resources are required to enable museums to successfully compete for the visitor dollar in the expanding “experience economy.” The authors suggest that the role and nature of museums in the future will be shaped by their responses to many challenges, the most important being: how to increase visitor numbers without negatively impacting on visitor satisfaction; how to adjust policy and practice as museums approach the limits of visitor growth; how to start to reverse the trend of declining public funding by demonstrating museums’ value to society through the adoption of community‐centered policies and practice; and perhaps the most unpredictable, how museums will adjust their policies and practices in the face of possible climate change. 相似文献
10.
In his recent book, “The World is Flat”, Thomas L. Friedman reviews the impact of networks on globalization. The emergence of the Internet, web browsers, computer applications talking to each other through the Internet, and the open source software, among others, made the world flatter and created an opportunity for individuals to collaborate and compete globally. Friedman predicts that “connecting all the knowledge centers on the planet together into a single global network… could usher in an amazing era of prosperity and innovation”. Networking also is changing the ways by which libraries and museums provide access to information sources and services. In the flat world, libraries and museums are no longer a physical “place” only: they are becoming “virtual destinations”. This paper discusses the implications of this transformation for the digitization and preservation of, and access to, cultural heritage resources. 相似文献
11.
Jay Rounds 《Curator: The Museum Journal》2012,55(4):413-434
Abstract Currently dominant ideas about the social accountability of museums demand that museums produce “intended outcomes”: positive changes to visitors. Proponents commonly depict this process as a “logic model,” a tightly controlled sequence of events that moves from goal to intended outcome. A tightly coupled system obliges all elements to work toward a common goal. But studies in a variety of fields have shown that tightly coupled systems are achievable only under specific environmental conditions, which are not met within the network of relationships in which museums work. Instead, this article views the museum and its relationships as a loosely coupled system. Each element has its own purposes, and strives to maintain its own autonomy. Interests overlap, but are not identical. In the loosely coupled system, encounters generate a wide and unpredictable range of events. This approach offers advantages for the long‐term sustainability of museums. 相似文献
12.
Scholars, commentaries, guide books, and people “on the street” seem to agree and take for granted that natural history museums are mainly aimed at children. Nevertheless, no studies have specifically investigated the public image of natural history museums. In this study, we provide quantitative evidence that natural history museums are indeed seen by the public as being primarily aimed at children and families with children, and we discuss the consequences that this fact has for the potential role that natural history museums could have in promoting science literacy and for the perception of science in general. 相似文献
13.
Angelina Russo 《Curator: The Museum Journal》2011,54(3):327-346
Abstract Throughout the cultural institution sector, shifts in audience participation call for new ways to share knowledge and view partnerships both online and onsite. Increasingly, this “transformation in cultural communication” suggests that a new type of mutually beneficial exchange is required between audiences and museums; and that those acting as agents of cultural change must be cognizant of how a participatory culture will drive our future institutional missions. This paper offers two examples of how the implementation of strategic social media programs can drive online cultural exchange and create new connections with diverse communities. It presents a convergence of initiatives undertaken within the sector over the past five years while offering a frame through which to view future innovations. Based on research undertaken with multiple organizations, it recognizes that the time is right to merge existing innovations with strategically developed communication programs to achieve a demonstrable, verifiable basis for the value of our museums. 相似文献
14.
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
15.
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
16.
Lori Byrd Phillips 《Curator: The Museum Journal》2013,56(2):219-235
Museums today grapple with the reconciliation of traditional models of authority with the expectation to incorporate new voices in cultural interpretation. At the same time, society is increasingly empowered by a social Web that provides collaboration, connectivity, and openness. This paper frames the dialogue of authority and openness around parallel theories within the museum and technology communities, offering Wikipedia as a platform for facilitating new perspectives in collaborative knowledge‐sharing between museums and communities. Expanding on the metaphors of the museum as “the Temple and the Forum” and the Web as “the Cathedral and the Bazaar,” this essay argues that issues of democratization, voice, and authority in museums can be addressed through Wikipedia's community, process, and its potential as a model for a new Open Authority in museums. 相似文献
17.
Alison F. Eardley Clara Mineiro Joselia Neves Peter Ride 《Curator: The Museum Journal》2016,59(3):263-286
The authors discuss the principles of “access for all” in museums, both physical and intellectual access. They explore this question of multisensory processing in neurologically typical individuals, and case studies of two Portuguese museums that experimented with implementation of an “access for all” approach to the presentation of their permanent collections. The study was designed with three phases: addressing architectural barriers to access, preparation of accessible information about space and objects, and testing of alternative formats to convey this information to learn how to meet diverse needs in different ways. Set in the context of research on multisensory learning, this article discusses why an access for all principle is a majority issue as well as a moral and legal concept. It discusses two case studies where an “access for all” museological approach has been applied to access to the collections, with differing success. The discussion focuses on how an “access for all” approach could enhance learning, long‐term memorability and the ‘cultural value’ of a museum experience for all visitors. 相似文献
18.
Klaus Müller 《Curator: The Museum Journal》2002,45(1):21-33
Abstract This paper investigates issues of museums and virtuality. In considering the diverse ways that museums are approaching virtuality, the focus here is on the common ground and shared objectives, rather than the differences between museums and their virtual re‐creations. Put simply, on‐site museums and their online counterparts are merely two ways of exhibiting cultures. In this sense, “virtuality” is a fundamental exhibition practice. The World Wide Web has become increasingly relevant to such core museum tasks as collecting, preserving, and exhibiting. Digitization of objects in digital heritage programs has led to new forms of collection management and unparalleled access to virtual replicas of museum artifacts. This transformation is inspiring new forms of preserving and displaying cultures both on‐ and off‐line. A successful digital expansion will largely influence whether museums can sustain their cultural authority and position in the 21st century. 相似文献
19.
Abstract This paper explores the theory of “communities of practice” and how the ideas contained in it could be applied to museums, by demonstrating how a key stakeholder group, Indigenous people, have been involved with and engaged in the work of the Australian Museum, Sydney, over the past 30 years. It is suggested that the processes museums have developed in building relationships with Indigenous people, particularly at the practitioner level, could form a template for how museums make themselves relevant to broader communities through active engagement with multiple communities of practice. 相似文献
20.
目前,国外捆绑提供不同机构的合作数字化资料,正在向大型“文化遗产门户”方向推进,目的是尝试将图书馆、博物馆、档案馆等公共文化机构拥有的数字化资料公开。欧洲联盟（European Union：EU）在构筑跨越国界大型门户方面起步较早,并取得了很大的成功。文章对代表EU文化遗产门户的“Europeana”及其发展趋势进行了论述。 相似文献