共查询到20条相似文献，搜索用时 31 毫秒
1.
Christian Hviid Mortensen Maja Rudloff Vitus Vestergaard 《Curator: The Museum Journal》2014,57(3):329-346
In a time with a heightened focus on how museum architecture and exhibition design shapes the museum visit, the entrance space of museums, the museum lobby, is remarkably absent from the museum literature and research. Still, the museum lobby is the first encounter visitors have with the museum and the last impression that they take home and share with others. This article analyzes museum lobbies as communication spaces in order to identify the different functions afforded by such spaces. In an explorative study of five Danish museum lobbies, we offer a preliminary categorization of these functions that can be compared at a general level. Concrete examples will be used to discuss general issues such as the adaptive borders of lobby spaces and the counteracting effects of design. We suggest that the preliminary categorization provided here can form a foundation for further studies resulting in practical suggestions for design improvements. 相似文献
2.
Jaime Kopke 《Curator: The Museum Journal》2011,54(4):399-402
Abstract This essay recounts the story of the Denver Community Museum, a pop‐up institution which operated for almost a year in downtown Denver, Colorado. This temporary museum was designed to be short‐lived. It prompted experiments with audience participation and questioned past versus present, fact versus fiction, and the museum “voice.” This article gives an overview of the space and its operations. Using personal accounts, the article explores the value of participation for the museum’s audience, as well as for the institution itself. These narratives are used as a springboard for a larger discussion of museum practice and creating opportunities for personal connection within the museum. 相似文献
3.
Elaine Heumann Gurian 《Curator: The Museum Journal》2001,44(1):97-113
Abstract This article examines three elements largely overlooked by the museum profession when thinking about community building—space, space mix, and unexpected use of space. It suggests that if museum planners were to pay overt attention to these, they could greatly enhance the community‐building role museums increasingly play. When considering museums and communities, writers in the museum field have focused on broadening audiences, public programs, collections and exhibitions. Physical spaces have been regarded as necessary armature but not as catalysts themselves. There are many subtle, interrelated and essentially unexamined ingredients that allow museums to play an enhanced role in the building of community and our collective civic life. The article describes the characteristics of the Livable Cities Movement and New Urbanism and suggests ways in which museums could encourage these characteristics—and thereby consciously use their interior and exterior spaces to build community. 相似文献
4.
《Curator: The Museum Journal》2017,60(3):273-290
Museum institutions are rarely recognised for their gastronomic potential, particularly in their efforts to draw culturally diverse audiences. This article unpacks the possibility of exploring foodways through a sociomuseological practice, with the aim to facilitate cross‐cultural interaction and tolerance. Following an action research methodology, this study explored the possibility of transforming a township restaurant in a marginalised community in South Africa, into an “edible museum” – a restaurant with sociomuseological aims. The results, however, indicated that the formalisation of the restaurant space in this context further exaggerated cultural difference rather than attempting its engagement towards tolerance through museological means. It is proposed that the “edible museum” concept lends itself to be envisioned as a process, rather than a physical space, through which museum professionals and educators may network with existing food communities and sites towards a sensory interpretation of cross‐cultural tolerance both inside their galleries and within broader communities. 相似文献
5.
Abstract This article describes Project ASTER III (Active Science Teaching Encourages Reform), a science professional development program for early elementary teachers, which is based on the premise that people learn best by doing. Very few professional development programs focus on early childhood teacher development and how best to integrate informal science centers into teaching. In ASTER III, development teams—consisting of university scientists, science educators, K‐3 teachers, and educators from a hands‐on science museum—developed 5E lesson plans aligned with the Ohio Academic Content Standards and the National Science Education Standards in conjunction with the museum’s exhibits. This study explores the impact of the ASTER III model on teacher perceptions about the role and effect informal science museum visits have on subsequent teaching and student learning. 相似文献
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7.
David Anderson Barbara Piscitelli Katrina Weier Michele Everett Collette Tayler 《Curator: The Museum Journal》2002,45(3):213-231
This article reports on a study of young children and the nature of their learning through museum experiences. Environments such as museums are physical and social spaces where visitors encounter objects and ideas which they interpret through their own experiences, customs, beliefs, and values. The study was conducted in four different museum environments: a natural and social history museum, an art gallery, a science center, and a hybrid art/social history museum. The subjects were four‐ to seven‐year old children. At the conclusion of a ten‐week, multi‐visit museum program, interviews were conducted with children to probe the saliency of their experiences and the ways in which they came to understand the museums they visited. Emergent from this study, we address several findings that indicate that museum‐based exhibits and programmatic experiences embedded in the common and familiar socio‐cultural context of the child's world, such as play and story, provide greater impact and meaning than do museum exhibits and experiences that are decontexualized in nature. 相似文献
8.
Alan R. Emery 《Curator: The Museum Journal》2001,44(1):69-82
Abstract This article describes a process initiated in 1983, at the Canadian Museum of Nature (CMN), which was based on the premise that a responsible natural history museum should assist society in shaping its collective future. The museum predicted that if it were able to help people understand themselves and their relationship to the natural world, the museum would again be seen as valuable to society, and thus would be supported in its efforts. The CMN therefore began to integrate its collections, scholarship, discovery, public programming, and public exhibits into broad, institution‐wide programs focused on the needs and interests of society. These programs enabled the museum to engage its visitors in “guided conversations” in which the museum provided the content, drawing on the research and communication strengths of the museum, while the audience, representing society, set the context. This guided conversation empowered the public to make informed decisions and to influence the museum and its work. CMN also designed exhibit formats that allowed the visiting public to contact industry and government decision‐makers with their opinions. The article describes the museum's evolution through several stages of increasing internal and external integration, ultimately using a managerial matrix to form project teams, with discipline‐based professionals focused on the interests and needs of society. Drawing on audience participation, the CMN reset its programming and offered advice and counsel to government and industry. The museum also took the first steps to include the traditional knowledge of indigenous peoples as an additional source of wisdom about the natural world. Financial and other support grew rapidly, effectively demonstrating a successful programmatic feedback loop helping society to shape its future using the museum as an information source and communication tool. The effort was terminated before the integration was completed, but nonetheless, CMN demonstrated that is possible to achieve a programmatic feedback loop that includes collections, science, exhibits, the general public and both government and industry decision‐makers. 相似文献
9.
Charity M. Counts 《Curator: The Museum Journal》2009,52(3):273-288
Abstract Intrigued by the crowd‐pleasing effects of “the spectacle,” some museums and exhibition designers have begun to enlist the principles used by theaters, theme parks, and public attractions in order to turn museum venues into awe‐inspiring experiences — thereby elevating this inclination into a principle we call Spectacular Design. This article summarizes the results of a year‐long study that compared and contrasted two categories of spectacle: museum and non‐museum. The concept of spectacle is here examined, and a formula is identified, so we can see the commonalities present in Spectacular Design both in public attractions and in museum exhibitions. The hope is to redefine the model for the museum field. 相似文献
10.
Abstract Understanding visitors is a necessary and complex undertaking. In this article, we present K‐means cluster analysis as one strategy that is particularly useful in unpacking the complex nature of museum visitors. Three questions organize the article and are as follows: 1) What is K‐means cluster analysis? 2) How is K‐means cluster analysis conducted? 3) Most importantly: What are the applications of K‐means cluster analysis for museum practitioners? To answer these questions, we present five steps that are vital to conducting a K‐means cluster analysis. We also present three cases studies to demonstrate differences among the results of three K‐means cluster analyses and provide practical applications of the findings. 相似文献
11.
Patrik Steorn 《Curator: The Museum Journal》2012,55(3):355-365
Abstract Important work in the last decades within the museum studies field has laid bare the implicit nationalist, evolutionist, and patriarchal narratives of the traditional museum. So far, though, only a few writers have discussed the museum’s role in supporting “heteronormative” narratives that consolidate heterosexuality as a norm within social and cultural life. This article is a critical discussion of methodological aspects of a queer perspective in interpreting, exhibiting, and organizing museum collections. Two shows with LGBT / queer perspective that were exhibited in Stockholm, Sweden during EuroPride 2008 are the focus of this article’s analysis. They consist of the photo exhibition Show Yourself! at the Nordic Museum, and Queer: Desire, Power, and Identity at the National Museum of Fine Arts. The author himself was the curator of the latter exhibition. This article offers personal reflections on the methodological challenges of translating an abstract queer perspective into museum practice in order to envision online and on‐site museum encounters that can mobilize various kinds of pluralistic passions. 相似文献
12.
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
13.
Robert R. Janes 《Curator: The Museum Journal》2010,53(3):325-338
Abstract The convergence of global issues—ranging from climate change to the erosion of cultural diversity—has created a watershed of opportunity or an unprecedented crisis for museums. The contemporary museum business model based on consumption, entertainment and ancillary education is increasingly unsustainable and irrelevant in this context. This article explores the concept of a more responsible museum and the need for a heightened sense of social, environmental and economic stewardship as the foundation for a sustainable future, in a time of profound social and environmental change for society at large. Obstacles to organizational effectiveness are discussed, as are methods for enhancing greater organizational awareness of societal issues. Examples of progressive museum practice are also presented by way of illustration. The possible consequences of inaction suggest the need for museums to transform their culture‐and‐industry business model into one of a locally‐embedded problem‐solver, in tune with the challenges and aspirations of their communities. 相似文献
14.
Yehuda Levy‐Aldema 《Curator: The Museum Journal》2011,54(3):279-291
Abstract In this article the author describes the process and framework behind the experience of developing a “Legitimate Visual Question Exhibition.” We start with the assumption that a museum has a responsibility to challenge and provoke its visitors and help them create new meanings, thus transcending the traditional model of information transfer. A Legitimate Visual Question Exhibition can effectively accomplish this. It approaches the task through installations of familiar subjects and stories presented in a manner that provokes questions that aren’t easily answered by cause‐and‐effect explanations. Several examples from a cultural museum in Israel are used to illustrate the philosophy and approach. 相似文献
15.
Abstract In this paper we describe the particularities of Latin American museum visitors as learners through an exploratory study that took place at Universum, Museo de las Ciencias, a science museum located in Mexico City. The exploration of the learning experiences of Latin American family groups was carried out by means of a case study approach and from a socio‐cultural theory perspective. This inquiry of 20 family groups reveals that nuances of the concept of “family,” in the Mexican context, are important in studying family learning in museum settings. The prominent roles of the extended family and interactions within family groups are discussed as intrinsic traits of a family’s museum learning. In addition, the outcomes of this study highlight the impact that the Latin American notion of educación has on museum education and research, as it encompasses issues that relate to the perpetuation of socio‐cultural values, child‐rearing, and ultimately, cultural identity. 相似文献
16.
Jessica J. Luke Jill Stein Cheryl Kessler Lynn D. Dierking 《Curator: The Museum Journal》2007,50(4):417-434
Many museums offer specialized programs for young people during out‐of‐school time, yet the consequences of such programs are not well documented. This article explores the potential utility of borrowing a conceptual framework from the youth development literature as a tool for assessment. The authors map findings from three studies of museum youth programs onto the youth development framework as an exercise in understanding the extent to which this model may be useful in developing museum youth programs. Results from this preliminary analysis demonstrate that the framework could serve as a viable tool for program design, and could offer a clear, grounded framework with common language for articulating program impacts often known intuitively and/or anecdotally but not formalized. 相似文献
17.
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
18.
When studying museum visitors, researchers sometimes collect data by video‐ and audio‐taping large high‐traffic areas. In order to inform visitors that they are being recorded, researchers post signs in the area. This article describes the Exploratorium's efforts to design and test trilingual signs that would effectively inform visitors when video‐based research is in progress. Interviews with 255 adult museum visitors, conducted across six versions of the recording area's setup and signage, revealed several effective design elements. The posted sign was more noticeable and welcoming when it included a large headline, a realistic camera icon, and a colorful background. The most effective setup of the area contained many cues to videotaping beyond the large posted sign, such as visible recording equipment and small signs on exhibits and cordons. In the most successful trilingual setup we tested, 92% of visitors leaving the research area knew they had been videotaped. 相似文献
19.
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
20.
This article reports on a study that was designed to provide insight about the barriers that limit families with children with autism spectrum disorder (ASD) from visiting fine arts museums. Parents (N=54), and staff and volunteers (N=62) at the museum completed a questionnaire about their perceptions of the participation of children with ASD in museum activities. Some significant differences in responses were found between parents and museum staff and volunteers. Parents reported being thankful for the sense of community that Autism Awareness Family Celebrations provide, but were frustrated with reactions from others during typical museum experiences. Museum staff and volunteers expressed that museum participation was important, but responses were split between those who desired to learn more about ASD in order to create an optimal museum experience, and those who preferred not to take on this initiative. Studies such as this help museums become more inclusive. 相似文献