In this article, Kathleen McLean, Principal of Independent Exhibitions, explores the importance of criticism for museum exhibitions. McLean includes a model of how to assess an exhibition as a chronicle of personal experiences. This article is a reprint from the "Exhibitionist" vol. 12, no. 2, Fall 1998.
In this article, Janet Kamien, principal of Janet A. Kamien Museum Consulting, discusses controversial museum exhibitions. Kamien uses recent examples to argue that all controversy associated with exhibits is "situational," and these controversies usually stem from issues within the museum and staff and rarely from the actual subject matter.
In this article, Marjorie Schwarzer, Professor of Museum Studies at John F. Kennedy University in Berkeley, California, describes eleven of the most influential exhibitions from the 20th century, according to NAME members surveyed for her book "Riches, Rivals and Radicals: 100 Years of Museums in America."
This article features perspectives from a variety of exhibit design consultants about their work and trends in the field. Authors include Douglas Simpson, Associate and Senior Exhibit Designer at Cambridge Seven Associates, Inc., Christopher Chadbourne, President of Christopher Chadbourne & Associates, Jeffrey Kennedy, President of Jeff Kennedy Associates, Inc., Michael Roper, Creative Director at Experience Media Group, Krent/Paffett/Carney Inc., Sara Smith, Director of Exhibit Development at Amaze Design, Inc., Sari Boren, Principal and Exhibit Developer at Wondercabinet Interpretive Design
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TEAM MEMBERS:
Douglas SimpsonChristopher ChadbourneJeffrey KennedyMichael RoperSara SmithSari BorenPeter KuttnerLarry Bell
In this article, Jennifer Bine, Project Director at the Smithsonian Institution Traveling Exhibition Service (SITES), explores the role of project managers as key members of the exhibit development process. Bine analyzes how project managers have changed the structure and operation of museum exhibition teams at their institutions.
In this article, Penny Jennings, an exhibit developer at West Office Exhibition Design, examines the role of exhibit developers. With input from colleagues, Jennings highlights the work that exhibit developers do and how the profession has changed in the last ten years.
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Penny Jennings
resourceresearchProfessional Development, Conferences, and Networks
In this article, Eugene Dillenburg, an Exhibit Developer at The Science Museum of Minnesota, examines the relationship between the exhibit profession and professional training. Dillenberg surveyed exhibit workers--department chairs, commercial contractors, museum studies professors, and program graduates--to better understand the influence of museum studies on exhibit practice.
In this article, Kathleen McLean, Principal of Independent Exhibitions, responds to her 1994 article in the "Exhibitionist" to explore how far the field has come in terms of exhibit evaluation and what work remains. McLean discusses how criticism based on personal experiences is just the first step in creating a more reflective group of practitioners and better exhibits.
In this article, Beverly Serrell, Principal of Serrell & Associates, discusses the Excellent Judges Framework and how it is different from other methods of reviewing exhibitions. Specifically, Serrell compares the Framework to summative evaluations, exhibition critiques, reviews, The AAM Standards for Museum Exhibitions and Indicators of Excellence, and critical appraisal.
In this article, James Volkert, an independent museum consultant and former associate director of the National Museum of the American Indian, uses the return of the "King Tut" exhibit as an opportunity to review the state of exhibitions and the supporting literature. Specifically, Volkert examines three categories: exhibition design as fine art, exhibition design in the service of others and exhibition design as metaphoric expression.
In this article, George E. Hein, Professor Emeritus at Lesley University, discusses "meaning making" and what the concept implies for exhibit developers. Hein discusses theory and research to investigate the role of meaning making within museums.
In this article, David James Whitemyer, Director of Production at Christopher Chadbourne and Associates, examines the question of whether or not exhibit designers should "professionalize" (i.e. require degrees, licenses). Whitemyer looks to other professions as models, and ultimately, calls on individuals to take more responsibility for maintaining high "standards" and continuing to push their skill set and knowledge base.