This paper describes the evaluation questions that drove two front-end studies conducted by Randi Korn & Associates (RKA) that were not in art museums. This paper also addresses of exhibition development with significant implications for front-end evaluation in the context of the studies. Then, the discussion returns to exhibition development and evaluation in art museums. Following this more abstract examination of the topic is a discussion of two front-end studies conducted by RKA at the Detroit Institute of Arts in 1996, looking at how the process worked there and what benefit the staff
In this paper, Sanford S. Shaman, of the Gallery of Art at the University of Haifa, discusses the spiritual void in contemporary art that accounts for the art's inability to communicate with visitors. Shaman describes how this lack of spiritual content renders much of today's art private and non-communicative in the eyes of many critics.
In this paper, Sandra Bicknell and Ben Gammon, of the National Museum of Science and Industry in London, question and debate issues related to ethics and morals, specifically in relation to the responsibilities of evaluators and visitor studies.
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TEAM MEMBERS:
Sandra BicknellBen Gammon
resourceresearchProfessional Development, Conferences, and Networks
In this paper, Harris H. Shettel, evaluation consultant, examines the "Professional Standards for the Practice of Visitor Research and Evaluation in Museums" approved by the AAM Committee on Audience Research and Evaluation or CARE. Shettel specifically comments on Section II that deals with the competencies required by visitor studies professionals. Shettel argues that it is time to move away from generalities described in this document and move toward articulating practices proven useful over time.
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Harris H. ShettelVisitor Studies Association
In this paper, Paulette M. McManus, museum and heritage consultant, outlines the history of visitor studies from the beginning in 1890 through today. McManus also examines some "unhelpful" notions professionals may be taking forward into the future as well as some current foci of visitor study interest.
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Paulette M. McManusVisitor Studies Association
This paper discusses the "Growing Up and Away" project at the Glenbow Museum in Calgary, in which a team consisting of a curator, programmer, designer and project team leader, developed a family-friendly exhibit that showcased the vast diversity of Glenbow's collection of artifacts related to childhood. This paper outlines the team's approach to development, front-end evaluation, formative evaluation, advisory groups, and related programs.
In this paper, Janet Kamien, former director of exhibits at the Field Museum and principal developer on the "Life Over Time" exhibit, Eric Gyllenhaal, primary developer for the exhibit, and Jeff Hayward, director of People, Places & Design Research and visitor researcher and evaluation advisor for the exhibit, present reflections on the process of creating "Life Over Time" and exhibits in general. These reflections include "Voices of Doom" or predictions of disaster that swirl in the heads of designers and developers as they build exhibits.
In this article, Florence Bramley-Hill, independent consultant and creativity couch, presents brainstorming techniques that can be used as a tool for enhancing creativity and problem-solving.
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Florence Bramley-HillVisitor Studies Association
This report presents front-end evaluation findings at the North Carolina Transportation Museum. The study was conducted to assist with the formidable task of programming the 110,000-square-foot roadhouse and to provide data for researchers and exhibit designers. Front-end evaluation goals included: (1) determine if pre-existing or natural traffic flow patterns were present in the roundhouse; (2) evaluate visitor interest in proposed research topics; and (3) obtain visitor reactions, insights, attitudes and expectations concerning proposed roundhouse programming.
The focus of this summative evaluation report is the Shark Encounter exhibit at Sea World of California, which opened in June 1992. The design concept was to display the largest collection of sharks in the world. Visitors are transported to the "tropics" to view sharks from above, and then venture into the sharks' environment as they travel through an acrylic tube placed on the bottom of the habitat. The goal of the evaluation was to determine the overall effectiveness, or success, of the exhibit
In this paper, Britt Raphling from the Adler Planetarium discusses how evaluation can be used to help focus interactive multimedia options so that exhibits meet both content objectives and visitor experience objectives. This paper outlines an "ideal" evaluation process tailored specifically to the challenges of developing interactive multimedia elements in museums. It requires exhibit developers, programmers, visitors and the evaluator to participate in a series of five steps designed to ensure the most effective possible outcome.
This paper discusses recent efforts of zoos and museums to develop exhibits that place a greater emphasis on the uniqueness of natural areas and on what visitors can do to preserve these ecosystems. Specifically, this paper focuses on a recent project at the Brookfield Zoo to create an outdoor adventure game called Quest to Save the Earth and includes details of the design process and findings from a formative evaluation process.
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TEAM MEMBERS:
Kate IrvineCarol SaundersJohn Scott Foster