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《Curator: The Museum Journal》2017,60(2):191-203
The paper considers the unique conditions that describe the National Museum of the Saharawi People, its relationship with visitors and its representation of the rights of residents of the refugee camp where it is located. In 1998, a National Museum of the Saharawi People was created in one of the several Saharawi refugee camps established in Eastern Algeria in the mid‐1970s. The museum was designed to provide knowledge about the cultures of the Western Sahara and to disseminate information about the challenges faced in the Saharawi territory. In 2006, a new curatorial investment was made and new exhibits mounted following a devastating flood that destroyed a substantial portion of the museum. In 2013 the Museum was remodelled. This case study undertaken after the 2013 reinstallation explored comments in the visitor books to understand how the museum contributed to cultural heritage, participated in the process of social cohesion, and supported the political struggle of a people demanding their right to self‐determination after decades of exclusion as residents in a refugee camp. 相似文献
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This paper discusses the benefits of using Latent Class Analysis (LCA) versus K‐means Cluster Analysis or Hierarchical Clustering as a way to understand differences among visitors in museums, and is part of a larger research program directed toward improving the museum‐visit experience. For our comparison of LCA and K‐means Clustering, we use data collected from 190 visitors leaving the exhibition Against All Odds; Rescue at the Chilean Mine in the National Museum of Natural History in January 2012. For the comparison of LCA and Hierarchical Clustering, we use data from 312 visitors leaving the exhibition Elvis at 21 in the National Portrait Gallery in January 2011. 相似文献
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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
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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
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One Hundred Strong: A Colloquium on Transforming Natural History Museums in the Twenty‐first Century
In February 2012, the Smithsonian's National Museum of Natural History (NMNH) convened 100 colleagues from 43 organizations to initiate a collaborative learning research agenda focused on examining important areas for innovation to better serve twenty‐first‐century audiences. The conference organizers anticipated that scientists, educators, exhibit professionals, and other members of the natural history community would identify and prioritize research questions about what, how, why, when, and where people learn about natural history. We prepared to engage in a conversation about how natural history museums could change what they do. The participants' overwhelming passion for their work, and for natural history museums and their transformative potential for society, quickly turned the conversation toward how natural history museums should change what they are. The result was an emergent learning research agenda situated within a broader vision for natural history museums. 相似文献
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吕伟涛 《自然科学博物馆研究》2019,(4):27-32
2018年10月16日,中国国家博物馆收藏李德威教授实物仪式在中国地质大学(武汉)举行,此次入藏中国国家博物馆的实物包括李德威教授生前使用的科考工具、记录本、衣物及各类证件和证书等物品共11件(套)。藏品征集是博物馆的主要业务之一,作为国家最高历史文化艺术殿堂,征集何种文物,折射出中国国家博物馆鲜明的价值导向,具有强大的社会影响。中国国家博物馆此次对李德威教授科考实物的征集,是对中华民族优秀文化基因的传承和对时代楷模高尚品质的弘扬。 相似文献
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This article provides information on the evaluation of a project between the Australian Museum and the Juvenile Justice department in New South Wales, Australia, where young people who offend of Pacific Islander heritage were introduced to an extensive range of Pacific Islander cultural materials. The key assumption of the project was that young Pacific Islander people who offend struggled with cultural identity issues, and that a meaningful connection with their heritage would improve cultural knowledge and pride—thereby reducing their involvement in crime. However, this assumption was not borne out by the study's results. Firstly, the twenty‐two Pacific Islander young offender study participants were already proud of their heritage, and comfortable in their cultural identities. Secondly, though they enjoyed their visit to the museum, most did not want to visit again, so there was no sustained engagement. Thirdly, the Museum program was not designed as part of a holistic approach with multiple strategies which addressed the complex reasons for youth offending. Despite eight out of the twenty‐two participants reoffending after the Museum visit, there was enough potential for the rehabilitative intervention that the Museum was granted funding to take its program to the community and make it more user‐centered. This, it is hoped, will set it on a path towards more sustained engagement, and the potential for a greater influence on Pacific Islander youth. 相似文献
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This article deals with the current situation of Colombia’s book industry and market for books, with an emphasis on the performance and prospects of the children’s sector. Opportunities for investment and expanding sales are explained in the framework of the Colombian economy growth both in the regional and world contexts. It provides useful data, hitherto unavailable in English, on the Colombian book sector’s share of the GDP; sales, imports and exports; pricing and distribution policies; government incentives, regulations and taxes; and the exploitation of digital books and other new technologies. 相似文献
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Van Nguyen Thi Bich 《Curator: The Museum Journal》2012,55(3):301-312
Abstract The Vietnamese Women’s Museum (VWM) opened in 1995 with the mission to improve public knowledge of the historical and cultural heritage of Vietnamese women in the nation’s 54 ethnic community groups. The VWM aimed to be a center for cultural exchange with women from other nations with the goal of fostering “equality, development, and peace.” At the outset it honored the positive role played by women in general, and presented some typical individuals acclaimed for their contributions and sacrifices. After some visitor research, the museum is now using a gender‐specific approach, playing the role of social critic, reflecting contemporary life, and targeting marginalized women groups. 相似文献
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Mike Smith 《Curator: The Museum Journal》2003,46(1):7-14
One of the distinctive features of the National Museum of Australia is the prominent role of environmental history in the Museum's programs and in its organizational structure. Environmental history is a field that operates best at the boundaries of science and the humanities, where the natural sciences and social history meet. The National Museum is one of few museums that facilitate this, drawing historians, geographers, archaeologists, earth scientists, and biologists into program development as members of the one curatorial and design team. This article discusses the advantages of environmental history as a strategic focus for the Museum, and looks at one of its major exhibitions. 相似文献
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Susan Evans 《Curator: The Museum Journal》2013,56(2):189-197
How does what we remember about history relate to true historical understanding, and how can the museum become a location for these conversations? During the summer of 2011, the National Museum of American History challenged audiences to consider issues of historical memory and national history through the performance of an interactive museum theater program, The Time Trial of John Brown. Using the Time Trial approach as a case study, this article reveals that interactive theater in museums can provide a platform from which audiences assert their own historical understanding while learning firsthand about their role in creating a shared knowledge of American history. As the role of museums evolves in the twenty‐first century, new attention must be paid to this personal process of examining and creating history and memory through performance. It is through performance and participation that history and memory are both examined and created by the audience. 相似文献
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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
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Doris Ash 《Curator: The Museum Journal》2004,47(1):84-100
This paper explores the role of questioning in scientific meaning‐making as families talk, look and gesture in front of realistic and artful dioramas at the Natural History Museum of Los Angeles County. The focus is on the ways questioning can either enable movement towards scientific understanding or hinder such progress. The socio‐cultural framework of this research emphasizes Vygotsky's interpretation of the zone of proximal development (zpd). Questions are viewed as tools for mediation in the zpd. This paper examines three families' dialogues, excerpted from a larger study of collaborative sense‐making among family groups in a natural history museum. It seeks to understand how collaborative dialogue meshes everyday understandings with canonical science, in this case through the use of questions. 相似文献
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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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MARJORIE L. HARTH 《Curator: The Museum Journal》1999,42(4):274-284
As indigenous voices become stronger through legislation or other means, museums with indigenous collections must reexamine their approaches to collection, exhibition, and preservation. Traditional approaches to collection management are undergoing change as participation from indigenous and tribal groups increases. This article summarizes these trends and describes the post-modern charters of two museums: the National Museum of the American Indian in Washington, DC, and Te Papa Tongarewa/The Museum of New Zealand, in Wellington. 相似文献
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Eric D. Gyllenhaal 《Curator: The Museum Journal》2006,49(3):345-364
Abstract Handling Calculus is a set of interactive exhibits about mathematics developed by the Science Museum of Minnesota and TERC. The exhibits are designed to engage visitors with kinesthetic, application‐oriented, and concept‐focused approaches to calculus and pre‐calculus concepts. As we examined visitor interviews collected during the evaluation of Handling Calculus, it was striking how often respondents' experiences with the exhibits stimulated memories they associated with school math. Respondents recognized math terms and symbols, reconstructed graphing skills, and recalled fragmentary concepts they had learned in school. In addition, they recounted stories about their former math teachers and the ways in which they had been taught mathematics, as well as a range of both positive and negative emotions they associated with school math. Respondents recognized and valued the hands‐on and whole‐body approaches used in Handling Calculus, contrasting the exhibits with their paper‐and‐pencil school experiences. Some respondents wondered if they would have done better at school calculus if their teachers had used the approaches taken by Handling Calculus. 相似文献
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In the year after the exhibition Science in American Life opened at the National Museum of American History objections were raised by the exhibition's chief sponsor, the American Chemical Society, and by the American Physical Society. These critics argued that the exhibition gave the public a negative view of science. The Institutional Studies Office was asked to conduct a study to determine whether or not the exhibition was affecting visitors' views of science, and, if so, in what direction. Using an entrance/exit survey design, the study determined conclusively that the visiting public entered the exhibition with a very positive view of science and technology and that their views were reinforced and confirmed by the experience of Science in American Life, rather than changed in either a positive or negative direction. 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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ZAHAVA D. DOERING ADAM BICKFORD DAVID A. KARNS AUDREY E. KINDLON 《Curator: The Museum Journal》1999,42(2):88-107
This article describes a study of The Power of Maps, an exhibition presented in 1992 at the Cooper-Hewitt, National Design Museum, in New York City. The study compared the result of surveys administered to visitors at the Cooper-Hewitt as they entered and exited the exhibition with a control group of surveys administered to visitors at the National Portrait Gallery in Washington, DC, who had not seen The Power of Maps exhibition. It was found that visitors who were surveyed as they entered the exhibition were closer in agreement with the message of the exhibition than the control group. It was also found that visitors surveyed upon exiting The Power of Maps exhibition were in closer agreement with the message of the exhibition than with visitors who were surveyed as they entered the exhibition. The study demonstrates that it is possible to document a change in visitors' conceptions about a topic as a result of hearing about or visiting an exhibition and reliably determine the degree to which exhibitions can influence visitors. 相似文献