In this article, Wayne LaBar, Vice President of Exhibitions and Featured Experiences at the Liberty Science Center and Principal-in-Charge at LSC Experience Services, presents preliminary observations, lessons learned, and discoveries made during the first year of developing "Cooking: The Exhibition Chefs." During the development of this exhibit, Liberty Science Center began an ongoing series of investigations called "Exhibit Commons," an attempt to engage the public in its exhibition process and operations. LaBar's analyzes the influence of this method on the entire exhibit development
In this article, Jim Spadaccini, Director of Ideum, examines open source software packages designed specifically for museums. Spadaccini provides practical advice on how this software can be utilized in museums.
In this article, Jay Rounds, director of the Graduate Program in Museum Studies at the University of Missouri-St. Louis, analyzes "meaning making" as a new approach to exhibits. Rounds helps clarify what "meaning making" means and identifies conctrete ways in which exhibits can be designed to stimulate and support visitors in their processes of meaning making.
In this article, Rich Faron, president, and Susan Curran, director, both of Museum Explorer, Inc., explore the importance of internal relationships among museum staff. In particular, the authors outline "Five Ts for successful teams" and other ways to improve teamwork amongst museum professionals.
In this article, Beat Hachler, co-director of Stapferhaus Lenzburg, discusses his institution's unique exhibit design approach, which uses unconventional strategies to "represent the present." In particular, Hachler describes the techniques used in "A Matter of Faith: An Exhibition for Believers and Non-Believers" and its impact on visitors and museum staff.
In this article, Barbara Cohen-Stratyner, Judy R. and Alfred A. Rosenberg Curator of Exhibitions at The New York Public Library for the Performing Arts, discusses the importance of including a wide array of in-house staff in the early planning phases of an exhibition. Cohen-Stratyner provides a "Communication Check-List" that exhibition planners can use to allay potential frictions that arise when in-house staff are not consulted or communicated with in the early stages.
In this article, Jim Spadaccini, owner and Creative Director of Ideum, examines the influence of Web 2.0 media and how new models (wikis, blogs, community sites, etc.) provoke new ideas and new questions. Spadaccini includes examples of how institutions are integrating this technology into their work.
In this article, Jay Rounds, Director of Graduate Program in Museum Studies at the University of Missouri, St. Louis, explores the growing concern within the museum field about (a lack of) of exhibit creativity. Specifically, Rounds explores why creativity seems to be diminishing despite enhanced technical competencies.
In this article, Jenni Martin, Director of Education at Children's Discovery Museum of San Jose, describes how and why her team developed a new exhibit, "The Wonder Cabinet" for children ages 4 and under and accompanying adults. Martin outlines the design process associated with this exhibit, noting challenges and best practices.
In this article, Mariana Galvani, Commercial Manager at Laboratorio museotecnico Goppion, describes how a defining project for this "Italian-centric" company: construction of the display elements for the British Galleries at London's Victoria and Albert Museum. This job was complex and exposed the firm to a new level of cultural debate about the role of museums and a philosophy of work that it had never experienced before.
DATE:
TEAM MEMBERS:
Marina Galvani
resourceresearchProfessional Development, Conferences, and Networks
In this article, Eugene Dillenburg, an Exhibit Developer at The Science Museum of Minnesota, shares a collection of stories from colleagues about their experiences in the museum field. The stories relate to defining moments in their career paths including how they began in the museum field, early experiences, witnessing the impact of their work, dealing with controversy, powerful interactions with objects, and career mobility and shifts.
In this article, Eugene Dillenburg, Lead Exhibit Designer at the Shedd Aquarium, examines how poetry is a powerful medium for making meaning, and suggests ways to make exhibits more meaningful as well. Dillenburg analyzes the elements of poetry, including words, imagery, theme and countertheme, and abstraction, and how they relate to label and exhibit design.