Manual of museum exhibitions / edited by Maria Piacente

Другие авторы: Piacente, Maria [editor]Тип материала: ТекстТекстЯзык: English (английский язык)Серия: A Lord Cultural Resources BookИздатель: Lanham : Rowman & Littlefield Publishers, 2022Дата авторского права: ©2022Издание: Third editionОписание: 1 online resource (477 pages)Вид содержания: Text Средство доступа: Computermedien Тип носителя: Online ResourceISBN: 9781538152829Тематика(и): Museum | Ausstellung | Planung | Konzeption | Gestaltung | Museum exhibits-Handbooks, manuals, etcЖанр/форма: Fernzugriff | Электронное местонахождение и доступ: Volltext
Содержание:
MANUAL OF MUSEUM EXHIBITIONS -- Contents -- Foreword -- Preface -- Acknowledgments -- Chapter 1 Introduction: The Exhibition Development Process -- PART I: WHY? -- Chapter 2 Museums and Their Exhibitions -- 2.1. The Trust Factor -- 2.2. Exhibitions as Agents of Transformation -- 2.3. Museums as Activist Institutions -- 2.4. Corporate Sponsorship: How Close is Too Close? -- 2.5. The Way Forward -- Chapter 3 Where Do Exhibition Ideas Come From? -- 3.1. Research-Based and Market-Driven Exhibitions -- 3.2. Planning for Exhibition Research -- PART II: WHERE? -- Chapter 4 Exhibition Facilities -- 4.1. A World of Exhibition Spaces -- 4.2. Developing Design Criteria for Exhibition Spaces -- 4.3. Exhibition Space Characteristics -- 4.4. Exhibition Gallery Security -- 4.5. Accessibility, Adjacency, and Circulation -- PART III: WHAT? -- Chapter 5 Permanent Collection Exhibitions -- 5.1. Planning for Permanent Collection Exhibitions -- 5.2. Changing Permanent Collection Displays -- 5.3. Interpreting Collections -- 5.4. Modes of Display -- Chapter 6 It's Not Always about Collections -- 6.1. Idea Exhibitions -- 6.2. Children's Exhibitions -- 6.3. Living History Exhibitions -- 6.4. Science Exhibitions -- 6.5. Digital Immersive Exhibitions -- Case Study: Weston Family Innovation Learning Centre, Terms of Engagement at the Ontario Science Centre -- Chapter 7 Virtual Exhibitions -- 7.1. What is a Virtual Exhibition? -- 7.2. Why Develop a Virtual Exhibition? -- 7.3. Thinking About Digital Audiences -- 7.4. Virtual Exhibition Considerations -- 7.5. Virtual Exhibition Development Process -- 7.6. Tips for Smaller Museums that Want to go Digital -- Case Study: Extending the Life of a Traveling Exhibition, Museum of International Folk Art, Santa Fe, United States -- Chapter 8 Temporary Exhibitions -- 8.1 Types of Exhibitions in a Temporary Exhibition Program.
8.2 Managing a Temporary Exhibition Program -- 8.3 Making Space for Temporary Exhibitions -- 8.4 Public and Educational Programming -- 8.5 Marketing and Public Relations -- 8.6 Funding and Resourcing a Temporary Exhibition Program -- 8.7 Generating Revenue -- Chapter 9 Traveling Exhibitions -- 9.1 Why Create a Traveling Exhibition Program? -- 9.2 Strategize for Success -- 9.3 Staff and Professional Resources -- 9.4 Loan Agreements -- 9.5 Designing and Preparing an Exhibition for Travel -- 9.6 Managing the Tour -- 9.7 Borrowers and Organizers -- Case Study: Natural History Museum London's Touring Exhibition Program, An Interview with Jan English, Head of Touring Exhibitions -- Interview: Traveling Exhibitions in a Changing World, with Antonio Rodriguez, Chairman of the Board, International Committee for Exhibition Exchange (ICOM, ICEE) -- PART IV: WHO? -- Chapter 10 Exhibitions and Diversity, Equality, Accessibility, and Inclusion -- 10.1 Implications for Exhibitions -- 10.2 Reflections: Fulfillment of Our Promise -- Case Study: Activating Change: DEAI, Community, and Evaluation, An Interview with Cheryl Blackman, Director of Museums and Heritage Services for the City of Toronto, Canada -- Chapter 11 Curiosity and Motivation -- 11.1 Cultivating Curiosity -- 11.2 Learning and Exhibitions -- 11.3 Understanding Audience Experiences, Motivations, and Preferences in Exhibitions -- Chapter 12 Evaluation -- 12.1 Measuring Success by Gail Lord -- 12.2 Before, During, and After: Front-End, Formative, Remedial, and Summative Evaluation by Duncan Grewcock -- 12.3 Qualitative and Quantitative Audience by Barbara Soren and Jackie Armstrong -- Case Study: University of Michigan Museum of Natural History Front-End and Formative Visitor Study Using Multiple Methods -- PART V: HOW? -- Chapter 13 Roles and Responsibilities.
13.1 Who's Involved in the Exhibition Process? -- 13.2 Teams and Committees -- 13.3 Contracting Expertise -- 13.4 Making Decisions -- Case Study: Oakland Museum of California Exhibition Process with Valerie Huaco, Deputy Director and Chief Content Officer -- Case Study: Roles and Responsibilities in a Small Museum: The Central Bank Museum of Trinidad and Tobago -- Chapter 14 Preparing the Exhibition Brief -- 14.1 Formulating the Exhibition Concept -- 14.2 Exhibition Brief -- Case Study: Canada Day 1 Traveling Exhibition -- Chapter 15 Interpretive Planning -- 15.1 Preplanning, Research, and Visioning -- 15.2 Interpretive Strategy -- 15.3 Organizational and Thematic Frameworks -- 15.4 Organizational and Thematic Frameworks from around the World -- 15.5 Communication Objectives/Visitor Outcomes -- 15.6 Interpretive Plan -- Case Study: University of Michigan Museum of Natural History, Exploring Michigan -- Case Study: Capitol Visitor Center Exhibition Hall, Washington, DC: Excerpts from the Interpretive Plan -- Chapter 16 Content Development -- 16.1 Research Planning -- 16.2 Collections Research and Selection -- 16.3 Exhibition Text by Patchen Barss -- 16.4 Image Research and Procurement -- 16.5 Hands-On Exhibits, Models, and Dioramas -- 16.6 Multimedia Exhibits -- 16.7 Subject Matter Experts -- Case Study: Working with Subject Matter Experts: Canadian Museum of Immigration at Pier 21, Halifax, Canada -- 16.8 Communities and Content -- Case Study: Creating with Community The First Peoples Exhibition at Bunjilaka Aboriginal Cultural Centre at Melbourne Museum, a Shared Endeavor of Museums Victoria and the Victorian Aboriginal Community -- Case Study: Indigenous-Led Design and Content Development: Indigenous Peoples Garden, Assiniboine Park, Winnipeg, Manitoba -- Chapter 17 Exhibition Design -- 17.1 The Design Process.
17.2 Exhibition Display Cases by Mike Chaplin -- 17.3 Lighting Design by Kevin Shaw -- 17.4 Green Design -- Case Study: Exhibitions and Museums in India: Challenges and Opportunities -- Chapter 18 Graphic Design -- 18.1 Semiotics in Design -- 18.2 Graphic Design Phases -- 18.3 Graphic Design Elements -- 18.3.2 Color -- 18.4 Imagery -- 18.5 Design Essentials -- Chapter 19 Multimedia -- 19.1 Strategic Role -- 19.2 Types of Multimedia -- 19.3 Operationalizing Multimedia -- Case Study: Rights of Passage Exhibition at Canadian Museum for Human Rights -- Case Study: Mandela: Struggle for Freedom Traveling Exhibition -- Chapter 20 Fabrication and Installation -- 20.1 Who Will Produce the Exhibition? -- 20.2 Design-Bid-Build or Design-Build: What's the Difference? -- 20.3 Contracting -- 20.4 The Production Process -- 20.5 Tracking and Scheduling -- 20.6 Warranty -- Case Study: Creative Contracting by the North Dakota Heritage Center &amp -- State Museum -- Chapter 21 Financial Planning -- 21.1 Creating an Exhibition Budget -- 21.2 Direct Exhibition Costs -- 21.3 Related Exhibition Costs -- 21.4 Managing the Budget -- Case Study: Budget Stretching with In-Kind Contributions -- Chapter 22. Effective Exhibition Project Management -- 22.1 The Role of Project Management and Why it is Needed -- 22.2 A Team Effort -- 22.3 Applying Project Management Methodology -- 22.4 Certifications and Continuous Learning -- 22.5 Completing the Tasks -- Chapter 23 Conclusion: The Future of Exhibition-Making -- Glossary -- Select Bibliography -- Index -- About the Editor -- About the Contributors.
Сводка: Drawing on years of experience, Maria Piacente details the exhibition process in a straightforward way that can be easily adapted by institutions of any size. She and her contributing authors explore the exhibition development process in greater detail, providing the technical and practical methodologies museum professionals need today.

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MANUAL OF MUSEUM EXHIBITIONS -- Contents -- Foreword -- Preface -- Acknowledgments -- Chapter 1 Introduction: The Exhibition Development Process -- PART I: WHY? -- Chapter 2 Museums and Their Exhibitions -- 2.1. The Trust Factor -- 2.2. Exhibitions as Agents of Transformation -- 2.3. Museums as Activist Institutions -- 2.4. Corporate Sponsorship: How Close is Too Close? -- 2.5. The Way Forward -- Chapter 3 Where Do Exhibition Ideas Come From? -- 3.1. Research-Based and Market-Driven Exhibitions -- 3.2. Planning for Exhibition Research -- PART II: WHERE? -- Chapter 4 Exhibition Facilities -- 4.1. A World of Exhibition Spaces -- 4.2. Developing Design Criteria for Exhibition Spaces -- 4.3. Exhibition Space Characteristics -- 4.4. Exhibition Gallery Security -- 4.5. Accessibility, Adjacency, and Circulation -- PART III: WHAT? -- Chapter 5 Permanent Collection Exhibitions -- 5.1. Planning for Permanent Collection Exhibitions -- 5.2. Changing Permanent Collection Displays -- 5.3. Interpreting Collections -- 5.4. Modes of Display -- Chapter 6 It's Not Always about Collections -- 6.1. Idea Exhibitions -- 6.2. Children's Exhibitions -- 6.3. Living History Exhibitions -- 6.4. Science Exhibitions -- 6.5. Digital Immersive Exhibitions -- Case Study: Weston Family Innovation Learning Centre, Terms of Engagement at the Ontario Science Centre -- Chapter 7 Virtual Exhibitions -- 7.1. What is a Virtual Exhibition? -- 7.2. Why Develop a Virtual Exhibition? -- 7.3. Thinking About Digital Audiences -- 7.4. Virtual Exhibition Considerations -- 7.5. Virtual Exhibition Development Process -- 7.6. Tips for Smaller Museums that Want to go Digital -- Case Study: Extending the Life of a Traveling Exhibition, Museum of International Folk Art, Santa Fe, United States -- Chapter 8 Temporary Exhibitions -- 8.1 Types of Exhibitions in a Temporary Exhibition Program.

8.2 Managing a Temporary Exhibition Program -- 8.3 Making Space for Temporary Exhibitions -- 8.4 Public and Educational Programming -- 8.5 Marketing and Public Relations -- 8.6 Funding and Resourcing a Temporary Exhibition Program -- 8.7 Generating Revenue -- Chapter 9 Traveling Exhibitions -- 9.1 Why Create a Traveling Exhibition Program? -- 9.2 Strategize for Success -- 9.3 Staff and Professional Resources -- 9.4 Loan Agreements -- 9.5 Designing and Preparing an Exhibition for Travel -- 9.6 Managing the Tour -- 9.7 Borrowers and Organizers -- Case Study: Natural History Museum London's Touring Exhibition Program, An Interview with Jan English, Head of Touring Exhibitions -- Interview: Traveling Exhibitions in a Changing World, with Antonio Rodriguez, Chairman of the Board, International Committee for Exhibition Exchange (ICOM, ICEE) -- PART IV: WHO? -- Chapter 10 Exhibitions and Diversity, Equality, Accessibility, and Inclusion -- 10.1 Implications for Exhibitions -- 10.2 Reflections: Fulfillment of Our Promise -- Case Study: Activating Change: DEAI, Community, and Evaluation, An Interview with Cheryl Blackman, Director of Museums and Heritage Services for the City of Toronto, Canada -- Chapter 11 Curiosity and Motivation -- 11.1 Cultivating Curiosity -- 11.2 Learning and Exhibitions -- 11.3 Understanding Audience Experiences, Motivations, and Preferences in Exhibitions -- Chapter 12 Evaluation -- 12.1 Measuring Success by Gail Lord -- 12.2 Before, During, and After: Front-End, Formative, Remedial, and Summative Evaluation by Duncan Grewcock -- 12.3 Qualitative and Quantitative Audience by Barbara Soren and Jackie Armstrong -- Case Study: University of Michigan Museum of Natural History Front-End and Formative Visitor Study Using Multiple Methods -- PART V: HOW? -- Chapter 13 Roles and Responsibilities.

13.1 Who's Involved in the Exhibition Process? -- 13.2 Teams and Committees -- 13.3 Contracting Expertise -- 13.4 Making Decisions -- Case Study: Oakland Museum of California Exhibition Process with Valerie Huaco, Deputy Director and Chief Content Officer -- Case Study: Roles and Responsibilities in a Small Museum: The Central Bank Museum of Trinidad and Tobago -- Chapter 14 Preparing the Exhibition Brief -- 14.1 Formulating the Exhibition Concept -- 14.2 Exhibition Brief -- Case Study: Canada Day 1 Traveling Exhibition -- Chapter 15 Interpretive Planning -- 15.1 Preplanning, Research, and Visioning -- 15.2 Interpretive Strategy -- 15.3 Organizational and Thematic Frameworks -- 15.4 Organizational and Thematic Frameworks from around the World -- 15.5 Communication Objectives/Visitor Outcomes -- 15.6 Interpretive Plan -- Case Study: University of Michigan Museum of Natural History, Exploring Michigan -- Case Study: Capitol Visitor Center Exhibition Hall, Washington, DC: Excerpts from the Interpretive Plan -- Chapter 16 Content Development -- 16.1 Research Planning -- 16.2 Collections Research and Selection -- 16.3 Exhibition Text by Patchen Barss -- 16.4 Image Research and Procurement -- 16.5 Hands-On Exhibits, Models, and Dioramas -- 16.6 Multimedia Exhibits -- 16.7 Subject Matter Experts -- Case Study: Working with Subject Matter Experts: Canadian Museum of Immigration at Pier 21, Halifax, Canada -- 16.8 Communities and Content -- Case Study: Creating with Community The First Peoples Exhibition at Bunjilaka Aboriginal Cultural Centre at Melbourne Museum, a Shared Endeavor of Museums Victoria and the Victorian Aboriginal Community -- Case Study: Indigenous-Led Design and Content Development: Indigenous Peoples Garden, Assiniboine Park, Winnipeg, Manitoba -- Chapter 17 Exhibition Design -- 17.1 The Design Process.

17.2 Exhibition Display Cases by Mike Chaplin -- 17.3 Lighting Design by Kevin Shaw -- 17.4 Green Design -- Case Study: Exhibitions and Museums in India: Challenges and Opportunities -- Chapter 18 Graphic Design -- 18.1 Semiotics in Design -- 18.2 Graphic Design Phases -- 18.3 Graphic Design Elements -- 18.3.2 Color -- 18.4 Imagery -- 18.5 Design Essentials -- Chapter 19 Multimedia -- 19.1 Strategic Role -- 19.2 Types of Multimedia -- 19.3 Operationalizing Multimedia -- Case Study: Rights of Passage Exhibition at Canadian Museum for Human Rights -- Case Study: Mandela: Struggle for Freedom Traveling Exhibition -- Chapter 20 Fabrication and Installation -- 20.1 Who Will Produce the Exhibition? -- 20.2 Design-Bid-Build or Design-Build: What's the Difference? -- 20.3 Contracting -- 20.4 The Production Process -- 20.5 Tracking and Scheduling -- 20.6 Warranty -- Case Study: Creative Contracting by the North Dakota Heritage Center &amp -- State Museum -- Chapter 21 Financial Planning -- 21.1 Creating an Exhibition Budget -- 21.2 Direct Exhibition Costs -- 21.3 Related Exhibition Costs -- 21.4 Managing the Budget -- Case Study: Budget Stretching with In-Kind Contributions -- Chapter 22. Effective Exhibition Project Management -- 22.1 The Role of Project Management and Why it is Needed -- 22.2 A Team Effort -- 22.3 Applying Project Management Methodology -- 22.4 Certifications and Continuous Learning -- 22.5 Completing the Tasks -- Chapter 23 Conclusion: The Future of Exhibition-Making -- Glossary -- Select Bibliography -- Index -- About the Editor -- About the Contributors.

Drawing on years of experience, Maria Piacente details the exhibition process in a straightforward way that can be easily adapted by institutions of any size. She and her contributing authors explore the exhibition development process in greater detail, providing the technical and practical methodologies museum professionals need today.

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