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1.
Steven Lubar 《Curator: The Museum Journal》2004,47(1):19-51
This case study examines the curatorial challenges of producing a very large exhibition at the Smithsonian's National Museum of American History from 1999 to 2003. This is an insider's look at how a cross‐functional exhibition team worked to produce a compelling new exhibition. Among the issues addressed are: development of a theme; choice and use of artifacts; presentation organization and techniques; issues of truth, authenticity and accuracy in history exhibitions; and practical issues of exhibition team organization and contract management. 相似文献
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Abstract Most zoo visitors are primarily motivated by the joys of watching animals, which may preclude attention to major ecological issues that are the focus of research in biodiversity, habitats, and other matters pertaining to the survival of wild animals. The Wildlife Conservation Society exhibition Congo Gorilla Forest is a popular animal‐watching experience, but it also communicates considerable educational content, stimulating visitors' interest in and awareness of ecological relationships. This article reviews the phases of an evaluation process that assisted WCS staff in making decisions about exhibition design and interpretation; it discusses measurement challenges in assessing outcomes; and it uses key findings from the evaluation process to define and explain the interpretive success of the project. Success for this conservation exhibition is described in terms of achieving three educational goals while recognizing the diversity among audiences. The exhibition's effectiveness is attributed to understanding visitors' expectations and interests, creating an array of exhibit formats to engage people, and communicating conservation messages visually and experientially. 相似文献
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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
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Sarah Kenderdine 《Curator: The Museum Journal》2013,56(2):199-218
This article examines two exhibition installations that integrate high‐resolution digital archeological datasets (photography and 3D architectural models) with immersive, interactive display systems. These analogous installations, Pure Land: Inside the Mogao Grottoes at Dunhuang and Pure Land: Augmented Reality Edition, allow visitors to engage in different ways with a full‐scale augmented digital facsimile of Cave 220 from the UNESCO World Heritage site, the Mogao Grottoes, Gansu Province, northwestern China. The peerless treasuries of paintings and sculptures at Dunhuang are extremely vulnerable. Comprehensive digitization has become a primary method of preservation at the site. The digital facsimiles of this cultural paragon can be transformed, providing formative personal experiences for museum visitors. The Pure Land projects contribute to new strategies for rendering cultural content and heritage landscapes. Interpreting these installations through the lens of phenomenology and panoramic immersion helps situate them at the forefront of virtual heritage today. 相似文献
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Betty Dunckel Camp Bruce J. MacFadden Melissa J. Mercer 《Curator: The Museum Journal》2000,43(3):211-230
The number, complexity, and popularity of World Wide Web sites has increased dramatically in recent years, providing a new opportunity for museum access. This case study describes the front‐end and formative evaluations conducted during the development of the Florida Museum of Natural History's first virtual exhibition, Fossil Horses in Cyberspace < http:www.flmnh.ufl.edunatscivertpaleofhcfhc.htm >, which during 2000 received −540,000 hits equating to −60,000 user sessions. As with physical exhibitions, evaluation is critical to enhancing the educational effectiveness and appeal of online exhibitions. 相似文献
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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
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《Curator: The Museum Journal》2017,60(1):47-65
Contraception: Uncovering the collection of Dame Margaret Sparrow was an exhibition at the Museum of New Zealand Te Papa Tongarewa which featured a participatory activity titled “Let's talk about sex” where visitors could answer the question: “If you could give your younger self one piece of advice about contraception, what would it be?” Over 2200 comments were written, inspiring an evaluation project. The resulting analysis provides insights into visitors’ attitudes, values, behaviours, experiences and concerns about contraception, sex, sexuality and sexual health in the early 21st century. The results also demonstrate the value and usefulness of visitor comments both as an exhibition experience and as data to complement formal evaluation methods. The paper also acknowledges the less successful aspects of the project. 相似文献
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《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
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The first exhibition in Vietnam to feature Vietnamese Catholics was held from December 10, 2008 to June 10, 2009 at the Vietnam Museum of Ethnology in Hanoi. The theme of this exhibition was “Catholic Culture as an Intrinsic Part of Vietnamese Culture.” The exhibition was organized by a State‐run museum against a background of difficult relations between the State and its Catholic communities. This article explores how the exhibition was conceived, and how the ideas of the curators were implemented by examining negotiations among different stakeholders involved in the exhibition. 相似文献
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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
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Alexandra Kim 《Curator: The Museum Journal》2011,54(4):403-412
Abstract Kensington Palace, London, has been home to kings and queens, dukes and princesses for 300 years. It was the focus for the tremendous public outpouring of grief following the death of Diana, Princess of Wales in 1997. Recently, the historic building was transformed into “The Enchanted Palace at Kensington,” which sent visitors on a quest through the sumptuous rooms to find seven of the palace’s princesses. On their journey, visitors discovered fantastical, fairy‐tale‐like installations, some of them by the best British fashion designers, and inspired by Kensington Palace’s incredible history. 相似文献
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Shiyanthi Thavapalan 《Curator: The Museum Journal》2014,57(1):137-145
The curators of the exhibition Uruk: 5000 Years of the Megacity claim that Uruk is the earliest known city in the world, the birthplace of writing, bureaucracy, monumental art, and architecture. Their reconstruction of this ancient metropolis in present‐day Berlin suggests to visitors that modernity and Mesopotamia are perhaps not worlds apart after all. The sumptuous new exhibition—organized by the Vorderasiatisches Museum/Staatliche Museum Berlin, the Reiss‐Engelhorn Museum Mannheim, and the Curt Engelhorn Foundation in collaboration with the German Archeological Institute and the German Oriental Society (DOG)—commemorates the centennial of the first German excavations at the site of Warka in southern Iraq. 相似文献
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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
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Jeffrey F. Klenotic 《The Communication Review》2013,16(4):461-495
In the 1920s, Hollywood moved to normalize a vertically integrated industrial structure based on centralized control over film production, distribution, and exhibition. The intensity of this effort at greater corporate rationalization increased dramatically between 1926 and 1932, as major studios aggressively assumed ownership of key first‐run movie palaces in cities and towns across America. Current studies of moviegoing during this period often suggest that studio control over exhibition helped standardize the contexts of film reception, thereby pressing pre‐existing class specificities of moviegoing into a more easily managed and legitimized middle‐class form of cultural practice. The case study presented here offers a theoretically‐informed but empirically grounded investigation of film exhibition and moviegoing during this period, and argues that film exhibition and moviegoing continued to be marked by cultural distinctions that helped articulate class relations in the wider social formation. 相似文献
17.
The study reported here looked at how two groups of people – one with art expertise and one without – made sense of their encounters with an exhibition of a single artist, the late Paul‐Henri Bourguignon. The study builds on previous research using Dervin's Sense‐Making Methodology to study how people interpret their arts experiences within the contexts of their everyday lives. Informants were asked to rank‐order their selections among the pieces on display according to which had the most impact for them (however they defined impact). Each informant then did a structured qualitative interview focusing on the work he or she chose as most impactful. The researchers looked at thematic elements and other patterns of similarity and difference that arose in the interviews and offer thoughts on how the results of this study may provide insight to those who work in museums. 相似文献
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Deborah L. Wasserman Donnelley Hayde Joe E. Heimlich 《Curator: The Museum Journal》2015,58(4):382-400
Interactivity, message, and story are critical, interrelated components of most educational exhibition designs. In this article, we introduce an Interactivity Design Framework for guiding exhibition designers’ intentional inclusion of interactivity, story, and message in exhibition components. This framework emerges from selected findings from summative evaluation of the Human Plus exhibition, which took place at the New York Hall of Science in late 2013. The exhibition was designed to generate interest in engineering among pre‐adolescent girls. Recognizing the target group's interest in human relationships and narrative, the exhibition was designed to be engaging and interactive, driven by compelling narratives of how engineering had enhanced the lives of people with disabilities. Exhibits interwove interactivity and story to convey messages related to both engineering itself and how engineering can meet the needs of people with disabilities. Because of this dual focus, the exhibition evaluation revealed important findings about how, and under what conditions, story and interactivity function to convey message: they can work together or compete. 相似文献
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As the character of aesthetic experience becomes more complex and multi‐faceted, exhibitions become interfaces that actively mediate between physical and invisible realities. Challenging more conventional forms of exhibition‐making, this situation becomes exaggerated when producing affective exhibition experiences in non‐conventional event‐structures and site‐specific contexts. This article explores how digital mediation and spatial practice can be productively integrated into new program architectures, specifically the type of civic media spectacles associated with the cultural phenomenon of the White Night or Nuit Blanche. The co‐authors engage with the social and cultural dynamics of such “performance spectacles” through the twin perspectives of curator and exhibition designer, which informed the realization of exUrbanScreens, an image‐based arts and new media festival that operated as a multi‐site, distributed nocturnal event. Practice‐based insights give perspective on audience participation in this type of exhibition event and the social dynamics of civic engagement in this particular form of program architecture. 相似文献