In this article, Nina Simon, an experience design consultant at Museum 2.0, explores the correlation between museum and exhibit design and visitor participation. Simon suggests that increased parameters and more thoughtfully designed exhibits will yield more meaningful visitor participation.
In this article, Joanne Jones-Rizzi, Program Director, People & Cultures, at the Science Museum of Minnesota, explores the role of museums in presenting and translating cultural experiences for visitors. Her perspective is based on twenty years of community-centered work in the field at two museums.
In this article, Douglas Simpson, Senior Exhibit Designer and Associate at Cambridge Seven Associates, Inc., provides tips and advice for hiring an exhibit design consultant. Simpson provides resources for finding an exhibit designer, comments on speculative design, and discusses processes like contact negotiations, communication, and documentation.
This article explores the ways museums can utilize portable devices (i.e cell phones) as a way to engage visitors in their exhibits. Featured are three museums experimenting with this technology in their exhibit spaces. Authors include Wayne Labar, Vice President of Exhibitions and Theaters at the Liberty Science Center, Denise Bressler, an Exhibit Developer and Project Manager at the Liberty Science Center, David Asheim, Founder and CEO of Guide by Cell, Peter Samis, Associate Curator of Education and Program Manager of Interactive Educational Technologies, and Stephanie Pau, Associate
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TEAM MEMBERS:
Wayne LaBarDenise BresslerDavid AsheimPeter SamisStephanie Pau
resourceresearchProfessional Development, Conferences, and Networks
In this article, James Sims, principal of Threshold Studios, explains the work and value of exhibit designers. In particular, Sims focuses on an exhibit designer's expertise and practice.
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James Sims
resourceresearchProfessional Development, Conferences, and Networks
In this article, Dottie Miles, Exhibition Manager at Longwood Gardens and Lecturer at The University of the Arts in Philadelphia, explores the lessons learned from the collaborative and creative approaches of museum studies programs that might enrich the practice of museum professionals. Miles compares her experience as a graduate student in Museum Exhibition Planning and Design to that as a working professional. Miles concludes that the elements of critique and collaboration, which are mainstays of the graduate experience, should be important elements of the field at large.
In this article, Erich Zuern, Producer for Derse Museum Group, discusses Request For Proposals (RFPs) and how to make sure you receive proposals that are focused on your needs from the most qualified firms. Zuern also addresses the factors that affect a firm's decision.
In this article, Tiffany Sakato, museum studies graduate student at NYU and exhibition media intern at the National September 11 Memorial Museum, explores how American graduate programs in museum studies are preparing students to think and operate globally. Sakato argues that this trend is sprouting from the personal interest and motivation of the students themselves.
In this article, Wendy Pollock, independent consultant and former manager of the exhibition program at ASTC, reflects on her experience with the science center movement and discusses the unanticipated effects traveling exhibitions can have on host museums and staff. Pollock explains how museums have commoditized exhibitions over time and offers advice on how to improve exhibits and provide visitors with novel experiences.
This article presents examples of practical strategies for developing a positive and productive working relationship between museum clients and outside design firms contracted to develop exhibits. Authors include Donna R. Braden, Lead Experience Developer at The Henry Ford, Joseph Hines, Owner and Principal/Designer of Project Arts & Ideas, and Sharon Klotz, Director of Exhibitions at the Brooklyn Children's Museum.
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TEAM MEMBERS:
Donna BradenJoseph HinesSharon Klotz
In this article, Audrey O'Connell, Head of International Business Development at The Natural History Museum, London, describes the CASTEX Project, a collaboration of five European natural history museums who developed a set of guidelines to help museums produce and distribute natural history exhibits. O'Connell addresses the challenges and successes associated with this project.
The article is a summary of the comments and discussions a session at the 2006 AAM conference that addressed what museums in the fields of art, history, and science might learn from each other and how museums might benefit from "cross-pollination." Panel participants were Eric Siegel, Executive Vice President for Programs and Planning at the New York Hall of Science, Benjamin Filene, Director of the Public History Program at the University of North Carolina Greensboro, Deborah Schwartz, President of the Brooklyn Historical Society, and Jennifer MacGregor, Curator of Visual Arts at Wave Hill.
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TEAM MEMBERS:
Eric SiegelBenjamin FileneDeborah SchwartzJennifer MacGregor