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1.
Ken Yellis 《Curator: The Museum Journal》2010,53(1):87-103
There are an estimated 17,500 museums in the United States. If people think these institutions are pretty much the same once you get inside or that the differences between them are unimportant, it might be hard to persuade them that all 17,500 are needed. Exhibitions can have great transformational power; why don’t they exercise that power more often? Have museums not fully understood exhibitions as a medium? Have we not devoted enough attention to the full repertoire of visitor feelings? Have visitors been telling us this and we have failed to listen? For many people, museums play many roles in their lives; for most others few or none. How can this be? “Museum‐adept” visitors seem to prize museums as theaters in which their own emotional and spiritual journeys can be staged, but what about the non‐museum‐adept? Can the museum‐adept teach us how to realize our medium’s full potential? 相似文献
2.
Robert R. Janes 《Curator: The Museum Journal》2007,50(2):219-237
Abstract The prevailing worldview in North America is grounded in the belief that continuous economic growth is essential to individual and societal well‐being. One result of the dominance of this worldview is the rise of museum corporatism, characterized by the primacy of economic interests in institutional decision making. This paper provides a critical overview of the growing dominance of marketplace thinking in museum affairs, and argues that this market‐oriented viewpoint is enfeebling or diverting otherwise competent museums from realizing their unique strengths and opportunities as social institutions in civil society. The meaning and implications of the “civil society” are discussed with particular reference to museums, along with several examples of museums and galleries that are currently playing key roles as agents of the civil society. This paper contends that departing from the status quo of marketplace imperatives opens the door to more creative definitions of museums as social institutions. Rather than becoming more like businesses, museums must exploit their uniqueness, resisting the domination of marketplace thinking, and testing alternative means of achieving meaning and sustainability within their communities. 相似文献
3.
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
4.
Elaine Heumann Gurian 《Curator: The Museum Journal》2010,53(1):71-85
In this paper, I suggest that museums have not explored their potential opportunities enough when dealing with their communities under stressful conditions. Each reader, however, should decide when what I am talking about is no longer appropriate for museums in general or your museum in particular. While some museums have moved more in the direction of serving their communities, I am struck by how little philosophical change has actually taken place in most museums after a year into this universal economic downturn. I argue that incorporating a broader palette of social services may make institutions more useful, but at some point these institutions might cease to be traditional museums. My question would be: “Should you care?” I do not suggest that all museums become full‐service community centers, though some might explore that option. Perhaps the question might become: How do we expand our services so that we make museums’ important physical assets of safe civic space and objects useful for tangible three‐dimensional learning into more relevant programs that reach all levels of community, and are rated by many more as essential to their needs and their aspirations for their children? 相似文献
5.
Tom Hennes 《Curator: The Museum Journal》2007,50(1):87-108
Abstract Interviews conducted during the summer of 2006 with people in and around the international museum community suggest that the interests natural history museums share in common with each other and with other kinds of organizations and communities are creating an array of new links across institutional, social and cultural boundaries. These links are active, complex, networked relationships directed toward common purposes. Museums that are taking advantage of this emerging environment are becoming “hyperconnected hubs” across which knowledge is exchanged and action initiated. In forging a multitude of “weak ties” outward at different institutional levels, museums are finding that their shared activity with others brings to themselves new and often unexpected value across the “strong ties” that bind them together internally as institutions. Those natural history museums most able to participate as members of larger, interconnected entities are finding powerful new opportunities to more vigorously engage the world they study and the constituencies they serve. In the process, they are becoming increasingly open, active and relevant. 相似文献
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7.
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
8.
Lois H. Silverman 《Curator: The Museum Journal》1995,38(3):161-170
The concept of meaning-making is generating excitement within the museum community, with good reason. Providing an approach to understanding visitor experiences, the paradigm illuminates the visitor's active role in creating meaning of a museum experience through the context he/she brings, influenced by the factors of self-identity, companions, and leisure motivations. As a result, visitors find personal significance within museums in a range of patterned ways that reflect basic human needs, such as the need for individualism and the need for community. The dynamics of visitor meaning-making indicate the importance of fashioning a better “fit” between people and museums in two critical areas: (1) between human meaning-making and museum methods and (2) between human needs and the purpose of museums in society. Each of these areas illuminates a promising direction for a new age of museums in which we actively support, facilitate, and enhance the many kinds of meaning possible in museums and explicitly incorporate human needs into exhibit goals and institutional missions. Examples of successful strategies are discussed. 相似文献
9.
Lori Byrd Phillips 《Curator: The Museum Journal》2013,56(2):219-235
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
10.
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
11.
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
12.
Andrew J. Pekarik 《Curator: The Museum Journal》2010,53(1):105-115
The ways that museums measure the success of their exhibitions reveal their attitudes and values. Are they striving to control visitors so that people will experience what the museum wants? Or are they working to support visitors, who seek to find their own path? The type of approach known as “outcome‐based evaluation” weighs in on the side of control. These outcomes are sometimes codified and limited to some half‐dozen or so “learning objectives” or “impact categories.” In essence, those who follow this approach are committed to creating exhibitions that will tell visitors what they must experience. Yet people come to museums to construct something new and personally meaningful (and perhaps unexpected or unpredictable) for themselves. They come for their own reasons, see the world through their own frameworks, and may resist (and even resent) attempts to shape their experience. How can museums design and evaluate exhibitions that seek to support visitors rather than control them? How can museum professionals cultivate “not knowing” as a motivation for improving what they do? 相似文献
13.
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
14.
Research has highlighted the vast gulf that exists between experts' and novices' understandings of science, and how difficult it is to bridge this gulf. When this research is applied to the design of museum exhibits and outreach material, it becomes clear that there is a tension between being scientifically correct and communicating effectively to a broad, diverse audience. In this paper we present a new approach to thinking about science learning in museums. Drawing on decades of research from the learning sciences, we argue that being “wrong” is an inescapable part of learning, and that not all simplifications are problematic. Instead, being “wrong” involves the gradual restructuring of many fine‐grained intuitive or commonsense notions that persist throughout the learning process and play an essential role in scientific expertise. We discuss the implications of adopting this approach for museum design. 相似文献
15.
Abstract This paper presents some personal perceptions about “drivers of change,” which have impacted the role and nature of museums since the 1980s, leading to the rise of the visitor‐centered museum. Such changes mirror developments occurring in society. In the case of museums, a decline in public funding has occurred at a time when increased resources are required to enable museums to successfully compete for the visitor dollar in the expanding “experience economy.” The authors suggest that the role and nature of museums in the future will be shaped by their responses to many challenges, the most important being: how to increase visitor numbers without negatively impacting on visitor satisfaction; how to adjust policy and practice as museums approach the limits of visitor growth; how to start to reverse the trend of declining public funding by demonstrating museums’ value to society through the adoption of community‐centered policies and practice; and perhaps the most unpredictable, how museums will adjust their policies and practices in the face of possible climate change. 相似文献
16.
Pamela Carter‐Birken 《Curator: The Museum Journal》2008,51(2):171-178
Abstract What does the term “interpretation” mean when it's encountered in museums of modern and contemporary art — and is something missing? Studies conducted by the Phillips Collection in Washington, D.C., the Walker Art Center in Minneapolis, and the University of Leicester in England reveal that visitors want more information about art. In this article, interviews with the directors of the Phillips and the Walker (as well as other museum professionals and academics) examine interpretative practices today and suggest plans for tomorrow. When preparing future interpretive materials, the author advocates that museums expose visitors to the idea that they make their own meaning when viewing art. 相似文献
17.
Jan Packer 《Curator: The Museum Journal》2008,51(1):33-54
Abstract This paper explores the beneficial outcomes that visitors seek and obtain from a museum visit, in terms that are not related to learning outcomes. It uses a deductive qualitative approach to investigate the meaning and value of a museum visit from the visitors' perspective. Three different levels of the meaning of the experience are considered: the attributes of the setting that visitors value; the experiences they engage in; and the benefits they derive. The findings confirm the importance of the “satisfying experiences” framework for understanding visitor experiences in museums, and extend this understanding in relation to the beneficial outcomes these experiences produce. The study also highlights the importance of “restoration” as an outcome of a museum visit. It is argued that the concept of the museum as a restorative environment, which enables visitors to relax and recover from the stresses of life, is worthy of further research attention. These insights will enable museum practitioners to better understand and meet their visitors' multiple needs and expectations. 相似文献
18.
KERSTI KRUG 《Curator: The Museum Journal》2001,44(3):261-273
AS museums respond to changing forces in our increasingly complex world, we who must make the changes find ourselves in the throes of discomfort and even conflict with formerly comfortable colleagues. We blame those on opposing sides of our views as obstinate, ignorant, or self‐serving. Why then does change invariably engender conflict? This article explores the underlying factors — the world‐views that each of us brings to the table — and presents a model of archetypes that hints at where museum professionals might fit. The aim is to expose the existence of fundamental differences in how each one of us approaches change so that we can navigate through disagreements, retain professional relations, and contribute positively to our museums. 相似文献
19.
Ken Yellis 《Curator: The Museum Journal》2009,52(4):333-348
Abstract Our relationships with our audiences have proved parlous. But if history is destined to be contested, where should museums be in that contest and how do we get there? Fred Wilson's Mining the Museum has turned out to be a path not taken; Enola Gay was a cautionary tale. But we should have these fights in museums, where the national narrative is blocked out and staged, because of how museums teach us, opening hidden windows on cloaked realities. Museums can start by becoming clearer about what they think they are doing when they make an exhibition. Exhibitions can have a profound effect on visitors at many levels but it doesn't happen very often. Is that because visitors seek another kind of experience from what we typically offer? 相似文献
20.
Beth Lord Author Vitae 《Museum Management and Curatorship》2006,21(2):79-87
This paper introduces the special issue by explaining the context of the conference at which the papers were originally presented, suggesting some ways of thinking about the intersection of philosophy and museums, and briefly introducing each paper in the collection. In the main body of the paper I look at a recent trend in museum interpretation and argue that it can be understood in terms of a definition of the museum as a space of representation and space of difference. I go on to suggest that this definition allows us to think of the museum as liberating us from certain ways of thinking. The paper as a whole suggests that philosophy can help us to think about museums, and that museums can contribute to philosophical thinking. 相似文献