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1.
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   

2.
Bishop Museum has been the focus of attention in Hawaiì and the mainland for its changes in direction from a traditional natural history museum to an entrepreneurial science learning center. Attention has focused on how well the museum, in changing its direction, serves its communities, especially its the Native Hawaiian community, and whether it should be undertaking contract research projects and contract public programs in partnership with hotels and other commercial businesses. The author, involved in a key role in several projects representing this change in direction, discusses controversial projects associated with repatriation, contract archaeology, and exhibits. The projects are described within the context of the museum's history as a Hawaiian institution. The controversies are then examined in terms of how the museum managed them and in so doing, how it met its mission of education and service. As we enter the twenty-first century, our ability to work with the community, especially the Native Hawaiian community, and remain financially viable will determine how we fare.  相似文献   

3.
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   

4.
After being closed for three years, the Cooper Hewitt, Smithsonian Design Museum reopened at the end of 2014 a transformed museum in a renovated heritage building: Andrew Carnegie's former home on the Upper East Side of New York City. New galleries, a collection that was being rapidly digitized, a new brand, and a desire for new audiences drove the museum to rethink and reposition its role as a design museum. At the core of the new museum is a digital platform, built in‐house, that connects collection‐ and patron‐management systems to in‐gallery and online experiences. These have allowed the museum to redesign everything from object labels and vitrines to the fundamentals of the “visitor experience.” This paper explores in detail the process, the decisions made—and resulting tradeoffs—during each stage of the process. In so doing, it reveals the challenges of collaborating with internal and external capacities, operating internationally with online collaboration tools, and rapid prototyping.  相似文献   

5.
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   

6.
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   

7.
Increasingly, museums are seeking to incorporate indigenous perspectives into their exhibits, programs, and collections management policies. Despite its history and close proximity to Hawaiians, Bishop Museum has neither a long nor an unblemished record of consulting the indigenous community. Within the last three years, there has been a theft/removal of sacred objects, a lawsuit involving repatriation of Hawaiian remains, demonstrations and state government hearings concerning the Bishop's interpretation of archaeological sites, as well as more positive activity; e.g., a renewed interest in exhibiting Hawaiian culture. While factionalism within the indigenous community complicates matters, many of the museum's problems are an outgrowth of its own decisions: lucrative contracts have not been without cost, and internal dissension has resulted in such high staff turnover that the museum's professional capability has been publicly called into question by Hawaiians (and others). As Hawaiians assume a more active role, their 106-year relationship with Bishop Museum is being redefined. (Note: “Hawai'i” is used here to refer to the southernmost island in the chain; “Hawaii” designates the entire chain, the state).  相似文献   

8.
Universities and natural science museums have a long, productive history; however, this has been an uneasy alliance in the United States at least since the 1880s. Decreasing resources and increasing expectations have made the position of all museum directors extremely difficult, but the situation for university natural science museum directors is probably the most complicated among these because they direct museums that are small administrative units within larger university organizations. Some of their challenges include conflict between museum and university missions, governance issues, relationship between director and the university administrator/board member, lack of understanding of museum functions, middle management role of the director, lack of control of staff time, lack of staff support, public access to museum, and limited public and fiscal support. Solutions offered to meet these challenges include a written mission statement, recognition of education as the primary goal of the museum, a written strategic plan, accreditation, a highly active faculty/staff, documentation of the museum's economic impact, the creation and building of a public support organization, the formation of alliances with local cultural organizations, continuing education for staff, and an open decision-making process.  相似文献   

9.
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   

10.
George Hein, museum education theorist, asserts that there are five qualities a “constructivist exhibition” must have (1998, 35). The authors, assembling observations of visitor engagement and qualitative data from the 2013 Smithsonian Folklife Festival, compare the event to Hein's constructivist exhibition criteria, to assess whether the Festival allowed visitors to “make meaning,” and to see whether visitor meaning‐making meshed with the goals of the curators. The answers have the potential to help improve visitor experiences and learning outcomes at museums and other curated cultural events.  相似文献   

11.
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   

12.
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   

13.
The National Museum of African American History and Culture (NMAAHC) marks a milestone moment in American history; the project has taken almost a century to come to fruition. Beginning with the first glimpse of the new monumental building on the National Mall, a NMAAHC visitor encounters complex symbols and histories. This review explores NMAAHC's historical context alongside its symbolic capital and its inaugural exhibitions, focusing on the central topic of the museum's efforts to embody “a new integration,” a space wherein all Americans can see their country through the lens of the African American experience.  相似文献   

14.
Boasting over 6000 objects, including replicas of a western hardware store, a frontier stage stop, and a late nineteenth-century industrial factory, the Cody Firearms Museum, located at the Buffalo Bill Historical Center in Cody, Wyoming, is “the largest and most important collection of American firearms in the world.” 1 1. Treasures from Our West (Cody, WY: Buffalo Bill Historical Center, 1992), 44. The museum, which creates a decidedly visual space through its near-exclusive engagement with looking, employs an aesthetic of domestication and sterility to frame firearms for museumgoers. Even as it transforms guns into inert objects of visual pleasure, the museum cannot fully erase the history of violence and colonial conquering in which guns played a starring role. The museum's rhetorical effectivity/affectivity, then, turns upon the unique play of presence and absence.  相似文献   

15.
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   

16.
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   

17.
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   

18.
The Artist Initiative at the San Francisco Museum of Modern Art (SFMOMA) is piloting models for increased collaboration between conservators and curators through joint work with artists. We seek a more integrated, holistic approach to the care and research of our collection. The project, funded by the Andrew W. Mellon Foundation, comprises five robust research engagements that serve the curatorial collecting departments of the museum (Photography, Painting and Sculpture, Media Art, and Architecture and Design). Three of the projects are monographic studies, examining the work of Ellsworth Kelly, Vija Celmins, and Julia Scher in depth, while two more are thematic, exploring modes of displaying digitally-driven design objects, and developing strategies for addressing the problem of color shift common to photographic prints made with experimental materials during the 1970s and 1980s. The Artist Initiative is also charged with developing hybrid working spaces to advance collaborative approaches to collections research at the museum's new downtown campus and at SFMOMA's new Collections Center in South San Francisco. These spaces include the Collections Workroom, a 56?sq?m (600?sq?ft) space that functions as a studio for visiting artists, a conservation laboratory, an interview suite, and a classroom at SFMOMA's downtown campus. At the Collections Center, a 121?sq?m (1300?sq?ft) Mock-Up Gallery has been built as a working model of one of the museum's new galleries. A functional exhibition space, the Mock-Up Gallery is also a venue for interviewing artists, prototyping exhibition formats, and meeting with students, scholars, museum staff, and community members. With the goal of contributing to critical discourses in contemporary art history, art conservation, and public engagement, each of the Artist Initiative projects includes a colloquium that will bring experts from multiple fields together with the featured artists. Thereafter we aim to share our findings widely through public programs and a range of publications, both digitally and in print.  相似文献   

19.
In this essay, I suggest that Mariana Ortega's concept of “loving, knowing ignorance” (2006) provides a useful conceptual tool for museum practitioners who seek to advance a progressive mission. This form of ignorance assumes authority in describing and acting on behalf of a subject, even as it fails to take seriously the subject's self‐knowledge and agency. While Ortega initially coined this term to describe the stance of white feminists toward women of color, here I extend the concept to describe a wider range of knowers—in this case, the institutional museum. Using a case study at the Museum of Fine Arts, Boston to illustrate this problem, I will suggest that becoming aware of instances of loving, knowing ignorance and learning to avoid it is a key skill for museum professionals who hope for their institutions to fulfill their educational mission in a diverse and democratic society.  相似文献   

20.
This paper reports anthropological research conducted at the Royal Ontario Museum (ROM) by the author over three years. The purpose of the research was a traditional anthropological one: to listen to visitors at length and in depth. Part One, published in Curator 46 (2), offered ethnographic data, anthropological analysis, and a marketing perspective to suggest why the visitor's point of view may seem vertiginously strange to museum personnel. It characterized the conflict between host and guest as the outcome of two competing models of culture: “preferment” and “transformation.” In Part Two, visitors' experiences of the museum serve to illuminate a shift in attitudes toward museum culture. This research establishes a typology of consumer segments and a set of strategic recommendations for freeing the museum from the preferment model without abandoning those visitors who continue to embrace it.  相似文献   

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