I intend to begin my presentation by providing an overview of what, actually, is a business model, followed by a focus on one aspect of that model, business strategies. The following is excerpted from my forthcoming book on new business models for museums (AltaMira Press).
This report is intended to take stock of the UK’s national museums and galleries (those which are members of the National Museums Directors’ Conference) and to assess their place within the wider social and economic framework of society. In doing so, efforts are made to address a number of issues, including the Government’s approach to museums and galleries; the economic impact of the NMDC institutions; creativity and innovation; civic engagement and, finally, an analysis of the state of the sector. Two other reports are to be published by NMDC, considering other aspects of museum and gallery
This chapter explores natural history exhibits, particularly dioramas, with regard to both art and authenticity. Dioramas are treated as a novel form of scientific model.
The Office for Human Research Protections (OHRP) provides a decision chart as a guide for institutional review boards (IRBs), investigators, and others who decide if an activity is research involving human subjects that must be reviewed by an IRB under the requirements of the U.S. Department of Health and Human Services (HHS) regulations at 45 CFR part 46. OHRP welcomes comment on these decision charts. The charts address decisions on the following: whether an activity is research that must be reviewed by an IRB, whether the review may be performed by expedited procedures, and whether informed
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U.S. Department of Health & Human Services
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.
In this article, Richard Faron, independent museum consultant, discusses how the act of musuem building can unite communities and the government. Faron uses Iraq as an "imaginary case study" to investigate how museums can strengthen Iraqi identity and pride.
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Richard FaronNational Association of Museum Exhibition
In this article, John Russick, Curator at the Chicago Historical Society, shares his adventurous experience participating in an archeological dig at a remote site in central Turkey. The experience taught Russick four important lessons related to exhibit development and foreign travel.
In this article, Janet Petitpas, assistant director at the Bay Area Discovery Museum and President of the Youth Museum Exhibit Collaborative, discusses how the group of North American children's museums share and manage traveling exhibits between the United States and Canada. Petitpas addresses the challenges associated with international exhibitions and offers suggestions based on her experiences.
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.
In this article, Robin Groesbeck, Traveling & Temporary Exhibitions Director at The Field Museum, Chicago, details the complex process of examining and packing the objects for "Splendors of China's Forbidden City: The Glorious Reign of Emperor Qianlong," the largest exhibit ever to leave the Forbidden City. The project was in collaboration with The Palace Museum, Beijing.
This article was derived from an AAM panel session of the same title at the 2003 Annual Meeting. The session, chaired by John Chiodo, Director of Design at Academy Studios, included observations by three international museum professionals: Silvia Singer, Director, Espacio Centrale Educativo Betlemitas, Mexico City, Mexico; Tim Walker, Director, The Dowse Museum, The Hutt, New Zealand; and Chris Cawte, Managing Director, MET Studio Design LTD, London, England. The speakers argue that American musuems need to be more willing to implement alternative interpretive techniques.
In this article, Maria Piacente, Principal at Exhibition Studio for LORD Cultural Resources, draws on experience in Asia and Continental Europe to reveal that audience development and visitor research is less common than in the US, Canada, and UK. Some projects at small museums in Asia, however, reveal that a few are taking strides to engage their audiences and work with local communities to meet their needs.