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1.
Explore a Painting in Depth, an experiment presented in the Canadian Collection of the Art Gallery of Ontario, consisted of a booth that offered seating for two visitors and, opposite them, The Beaver Dam, a 1919 landscape painting by the Canadian artist J. E. H. MacDonald. In a 12‐minute audio‐guided Exercise for Exploring, visitors were invited to engage in a creative process with the imagery of the painting. This paper sketches how the experiment evolved, presents the background of the Exercise for Exploring, and surveys the effects of the exhibit on a wide range of visitors. The question is raised: How can facilitating visitors' creative responses to artworks be part of the museum's educational mandate and its arsenal of interpretive resources? More broadly: Do strategies that foster and privilege visitor creativity, as well as honor the creativity of artists, affect the accessibility and relevance of the museum for the general public? 相似文献
2.
Kelly McHugh 《文物保护研究》2016,61(3):126-129
Comparisons are often made between the conservation of cultural material collections, often described as ethnographic, and contemporary art collections, and indeed there are significant parallels. The stewardship of both of these types of collections can challenge traditional tenets of conservation, requiring conservators to ask themselves ‘What are we preserving?’ as preservation extends beyond the physical. The work must be placed in a broader conceptual context and the conservator must seek out those who are deemed to have the most authority – whether it is the artist, the artist's assistants and estate or the source community – to establish this context. Engagement with constituents creates valuable reciprocal relationships, which can benefit the artist, community, and museum. The relationships and the parallel practice of two seemingly disparate fields are examined using examples from the National Museum of the American Indian (NMAI) and the Yale University Art Gallery (YUAG). Conservators at NMAI, a living culture museum containing archeological, historic, and contemporary art collections, are in the unique position of working with community stakeholders with direct ties to historic collections and contemporary artists whose work is actively acquired by the museum. Conservators at YUAG, an encyclopedic museum with a pedagogical directive, are attempting to establish a more rigorous program of artist engagement to direct preservation and understanding of contemporary art collections. 相似文献
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4.
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
5.
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
6.
Abstract When the Chicago History Museum re‐opened its doors on September 30, 2006 after a 21‐month‐long renovation, the debut included a new interactive history gallery for families. The exhibition, Sensing Chicago, was designed primarily to appeal to and communicate effectively with eight‐ and nine‐year‐old children. Since this was a new target audience for the museum's exhibition program, the team followed a course for this project that departed from the museum's typical exhibition development. The process was informed by audience research that has broadened our understanding of how a collections‐based history museum that traditionally caters to adult audiences can create meaningful and memorable experiences for children. This article focuses on one aspect of the research, a three‐month concept‐testing phase conducted by in‐house staff, which provided the team with useful information that, in turn, impacted the development and design of the gallery. 相似文献
7.
《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
8.
Barbara J. Soren 《Curator: The Museum Journal》2000,43(4):324-342
Abstract This article describes how two art museums have used the results of audience research for institution‐wide planning. Results and outcomes are reported from a visitor audit at the Tate Gallery (now Tate Britain), and from a survey of Black cultural tourists and local African Americans visiting The Art Institute of Chicago. A follow‐up interview five years later with the head of communications at the Tate Gallery highlights how exhibit developers and museum staff used visitor feedback and response to improve visitor care, and ultimately visitor experience. A conference presentation a year after the audience research was conducted at the Art Institute and an exhibition two years following are indications of the extent to which the African American audience research project had an institutional impact. The article concludes with a review of helpful methods and suggestions for other institutions. 相似文献
9.
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
10.
安来顺 《自然科学博物馆研究》2018,(1):13-16
当代公共博物馆在经历了250余年的发展演变之后,其发展的社会、文化、专业甚至经济环境,都在发生着重要变化。新的趋势无疑为博物馆带来新机遇、新可能,同时也伴随新挑战。在今天博物馆需要回答的诸多问题中,有一个始终处于核心位置:我们的博物馆机构是否对社会很重要？无论是眼下还是长远的未来。围绕于此的相关讨论,让当代博物馆新的文化观逐渐清晰起来,让博物馆为适应新形势而进行的战略选择有了新的坐标,并最终引导出关于博物馆价值体系可能的重构以及新的运行规则。 相似文献
11.
David Shayt 《Curator: The Museum Journal》2008,51(2):179-185
Abstract Large works of public sculpture outside our museum doors reveal aspects of a museum's self‐image. They beckon, reassure, or confront visitors with new ideas about what might lurk inside. Whether off‐the‐shelf or commissions by well‐known sculptors, these pieces matter. They are the noses on our museum faces. In this essay, one museum curator reflects on the layered meanings of his museum's entry art — meanings that, he argues, have the potential to evolve over time. 相似文献
12.
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
13.
Jill Sterrett 《文物保护研究》2018,63(5):242-250
ABSTRACTIn June 2016, the San Francisco Museum of Modern Art (SFMOMA) completed a three-year expansion project that more than doubled its overall size. The SFMOMA expansion complies with one of the most rigorous sustainable building requirements in the USA, the City of San Francisco’s Green Building Ordinance. The ordinance requires that the new addition achieve at least Leadership in Energy and Environmental Design Gold certification and an energy reduction of 15% or better over California’s energy code. The new SFMOMA thus balances its commitment to preserve works in the collection with the demand to maximize energy efficiency and minimize its carbon footprint. Cross-disciplinary expert teams – including curators, conservators, architects, engineers, and sustainability consultants – were integral to a project design process that affirmed the museum’s promise to its collection while also realizing its broader vision to enhance visitor experience and public access and they continue to be essential to evaluating these design outcomes. 相似文献
14.
Andrew J. Perrin 《The Communication Review》2013,16(2):91-108
There has been much discussion of Silicon Valley, the area south of San Francisco that is home to many high-technology firms. This article explores the cultural discourse of Silicon Valley, paying particular attention to the newly-opened Tech Museum of Innovation in San Jose and the strategies of commemoration, identity construction, and exhibition it uses to mirror, focus, and construct a Silicon Valley culture. The Tech Museum successfully captures the dominant ideological elements of Silicon Valley, combining celebration of technology with a fascination with what the museum s literature refers to as the gizmos and gadgets produced by Valley companies. The Tech serves as a material focal point for Valley culture, but fails to provide a coherent direction or message for it. 相似文献
15.
David R. Howell 《Curator: The Museum Journal》2015,58(4):423-433
Since the devolution of political authority was introduced to Wales, the museums and culture sector has been increasingly influenced by the political sector. One aspect of the culture sector to become a focus for Welsh politicians has been the idea of establishing a National Gallery for Wales. This has increased pressure on the National Museum Wales, the body which would be responsible for creating a National Gallery, to revisit its approach to the display of national art collections and associated narratives. However, in an effort to create something resembling a National Gallery, has National Museum Wales ultimately fallen short in achieving wider goals of developing a Welsh narrative through the nation's art holdings? This paper explores how effective the National Museum has been in exploring national narratives through its displays, by focusing on audience engagement with exhibitions. A visitor study, conducted between 2012 and 2014, explored the way in which visitors engaged with works of art that might be classified as being “Welsh.” Following this three year period, it became clear that visitors were not viewing Welsh art work as a viewing priority, and tended to not enter the one exhibition area to present a strong Welsh narrative connected to the display of art. In a context where visitors appear to systematically disengage with a national narrative—a narrative seen to be a priority by Welsh politicians and the museum hierarchy—why is this failure occurring? How might it be confronted? And ultimately does, or should, this emphasis matter in the first place? 相似文献
16.
Museums are ideal institutions for the development of volunteer programs. A museum's commitments to education and research and to expansion of learning, as well as its physical resources, offer potentially attractive forms of involvement for various segments of the population. We discuss aspects of a long‐established, self‐funded resident volunteer program that integrates the resources of a museum's field station with seasonal staffing needs, resulting in economic benefits to the museum and educational and career‐advancement benefits to volunteers. The practices used to bring together these objectives are discussed, with the goal of providing an example for museum administrators so they might better appreciate the potential diversity of volunteer programs as methods of broadening museums' roles in society. 相似文献
17.
Alison Norton 《文物保护研究》2016,61(3):160-166
A 2014 exhibition of Meriç Algün Ringborg at Moderna Museet, Stockholm, Sweden, exploring identity and belonging involved the making of facsimiles. The installation included a sound work, booklets to be taken, and a book to be read. Exhibition copies were created of personal letters for open display which were not to be touched. Contrary to the artist's wishes, the work was constantly handled. Made for this one installation, the facsimiles transcended the exhibition and were returned with the work to the artist. The paper examines issues of authenticity and control from a conservation standpoint, and details discussions surrounding reproduction in contemporary art museum conservation practice. 相似文献
18.
Jane Alexander 《Curator: The Museum Journal》2014,57(3):347-362
How can art museums use interpretive technology to engage visitors actively in new kinds of experiences with works of art? What are the best strategies for integrating technology into the visitor experience? In 2012, the Cleveland Museum of Art responded with Gallery One, an interactive art gallery that opened to stakeholders on December 12, and went through a six‐week testing period before its public opening on January 21, 2013. Gallery One drew from extensive audience research and was part of a major building and renovation project in which CMA reinstalled and reinterpreted the entire permanent collection in new and renovated gallery spaces. The end result was an innovative and robust blend of art, technology, design, and a unique user experience that emerged through the collaboration of staff across the museum and with outside consultants. 相似文献
19.
Kelly Elizabeth Yasaitis 《Curator: The Museum Journal》2006,49(4):449-462
Abstract This article explores the act of collecting from a postmodern perspective by examining the influences of changing times, places, and persons. Considering the British Museum's stages of development and progress, it discusses the life of Sir Hans Sloane and how his actions helped determine the museum's original goals for its collection. The early days of the British Museum provide a clear view into the values of seventeenth‐ and eighteenth‐century British society. The focus of the museum's collection has changed over the years with the changing views of academics and society. The museum today still strives to hold knowledge of all things, yet tempers this goal under the pressures of modern theorists and politics. While still desiring to communicate information about the world from vast and complex collections, the museum has shifted its focus to answer questions of ownership and entitlement. Explaining national and world heritage views, the article concludes with a discussion of the ethics of collecting as a primary factor in today's British Museum collection. 相似文献
20.
《Curator: The Museum Journal》2017,60(3):311-333
This paper details findings from a collaborative research project that studied children learning to 3D print in a museum, and provides an overview of the study design to improve related future programs. We assessed young visitors’ capacity to grasp the technical specificities of 3D printing, as well as their engagement with the cultural history of shoemaking through the museum's collection. Combining the museum's existing pedagogical resources with hands‐on technology experiences designed by Semaphore researchers, this study enabled both researchers and museum education staff to evaluate the use of 3D‐driven curriculum and engagement materials designed for children visiting cultural heritage museums. This study raises critical questions regarding the practicality of deploying 3D media to engage young learners in museums, and this paper illuminates the challenges in developing models for children to put historical and contextual information into practice. 相似文献