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Full Description
All museum activities converge in the public forum of the exhibition - regardless of whether the exhibit is held in the physical museum or is on the Web. Since the first edition of this book in 2002, there has been a world-wide explosion of new galleries and exhibition halls, and new ideas about how exhibitions should look and communicate. The definition of what an exhibition is has changed as exhibitions can now be virtual; non-traditional migratory and pop-up spaces play host to temporary displays; social media has created amazing opportunities for participatory engagement and shifted authority away from experts to the public; and as time-constrained audiences demand more dynamic, interactive, and mobile applications, museum leadership, managers, staff, and designers are rising to these challenges in innovative ways. Drawing on years of experience and top-flight expertise, Barry Lord and Maria Piacente detail the exhibition process in a straightforward way that can be easily adapted by institutions of any size. They explore the exhibition development process in greater detail, providing the technical and practical methodologies museum professionals need today. They've added new features and expanded chapters on project management, financial planning and interactive multimedia while retaining the essential content related to interpretive planning, curatorship, and roles and responsibilities. This second edition of the standby Manual of Museum Exhibitions is arranged in four parts: *Why - Covering the purpose of exhibits, where exhibit ideas come from, and how to measure success*Where - Covering facilities and spaces, going into details including security, and interactive spaces*What - A look at both permanent collection displays, and non-collection displays, as well as virtual, participatory, temporary, travelling displays, and retail sales*How - Who is involved, planning, curatorship, and content development, design, multimedia, fabrication and installation, financial planning, and project managementOver 130 figures and photographs illustrate every step of the exhibit process. No museum can be without this critical, detailed guide to an essential function.
Contents
1. IntroductionBy Gail Dexter Lord and Maria Piacente1.1 The Exhibition Development ProcessPart I: Why?2. The Purpose of Museum ExhibitionsBy Barry Lord2.1 Exhibitions as a Function of Museums2.2 Museum Exhibitions as the Communication of Meaning 2.3 Modes of Exhibition ApprehensionCase Study: Cleveland Museum of Art, by Nicole Dawkins3. Where Do Exhibition Ideas Come From?By Barry Lord3.1 Research-Based and Market-Driven Exhibitions3.2 Planning for Exhibition Research4. Measuring SuccessBy Gail Dexter Lord4.1 Museum Specific Evaluation Criteria4.2 Who is the Exhibit for-and Why?, by Kate Markert and Gail Dexter Lord4.3Before, During, and After: Front-End, Formative and Summative Evaluation, by Duncan Grewcock4.4Qualitative and Quantitative Audience Research, by Babara Soren and Jackie ArmstrongPart 2: Where?5. Exhibition FacilitiesBy Heather Maximea5.1 Developing Design Criteria for Exhibition Space5.2 Exhibition Environments for Collections5.3 Exhibition Space Characteristics5.4 Exhibition Security5.5 Accessibility, Adjacency, and Circulation6. A World of Exhibitions SpacesBy Heather Maximea6.1 Permanent vs.Changing Exhibitions Spaces6.2 Exhibition Spaces for Art or Archives6.3 Exhibition Spaces for Artifacts or Specimens6.4 Interactive Exhibition Spaces6.5 Study Spaces within the Exhibition6.6 Temporary Exhibition and Multipurpose SpacesCase Study: The Reach: A Mixed-Use FacilityPart 3: What?7. Permanent Collection DisplaysBy Katherine Molineux7.1 Planning for Permanent Collection Exhibitions7.2 Collection Display7.3 Interpretive Collections7.4 Modes of Display8. Exhibitions Not Based on CollectionsBy Katherine Molineux8.1 Idea Exhibitions8.2 Children's Exhibitions8.3 Living History Exhibitions8.4 Science ExhibitionsCase Study: Weston Innovation Centre, by Lesley Lewis and Kevin von Appen9. Virtual ExperiencesBy Ngaire Blankenberg9.1 Web 1489.2 Mobile Technology 1499.3 Developing Virtual Web and Mobile Experiences 1509.4 Options for Web Experiences 1539.5 Options for Mobile Experiences 1599.6 Conclusion10. Participatory ExhibitionsBy Ngaire Blankenberg10.1 Participatory Exhibitions: Enhancing the Museum's Value for New Publics10.2 The Paradox of Participation10.3 Why Have Participatory Exhibitions? Goals and Success Indicators10.4 From Visitors to Participants: The Participant Continuum10.5 Types of Participatory Exhibits10.6 Ingredients for Participation10.7 Conclusion11. Temporary ExhibitionsBy Katherine Molineux and Maria Piacente11.1 Managing a Temporary Exhibition Program11.2 Making Space for Temporary Exhibitions11.3 Public and Educational Programming11.4 Funding a Temporary Exhibition Program11.5 Generating Revenue12. Travelling ExhibitionsBy Maria Piacente12.1 Staff and Professional Resources12.2 Loan Agreement12.3 Preparing an Exhibition for Travel12.4 Manager the Tour12.5 Borrowers and Organizers13. Exhibition RetailBy Susan Dunlop22.1 Key Trends and Principles22.2 Retail Research22.3 Merchandise Mix22.4 Beyond the Museum Shop22.5 Products Related to Temporary ExhibitionsCase Study: Harry PotterTM: The ExhibitionPart 4: How?14. Who Is Involved In the Exhibition Process?By Maria Piacente13.1 Roles and Responsibilities13.2 Teams and Committees13.3 Contracting Expertise13.4 Decision Making15. Preparing the Exhibition BriefBy John Nicks and Maria Piacente14.1 Formulating the Exhibition Concept14.2 Exhibition BriefCase Study: Canada Day 116. Interpretive PlanningBy Maria Piacente15.1 Addressing Learning Styles in the Interpretive Plan, by Christina Sjoberg15.2 Interpretive Planning ProcessCase Study: National Archaeological Museum Aruba17. Curatorship and Content DevelopmentBy Lisa Dillon Wright 16.1 Research Planning16.2 Collections Research and Selection16.3 Exhibition Text16.4 Image Research and Procurement16.5 Researching Hands-On Exhibits, Models, and Dioramas16.6 Researching Audiovisual and Multimedia Exhibits18. DesignBy Yvonne Tang and Yves Mayrand17.1 The Design Process17.2 Designing Interactivity17.3 Lighting design, by Kevin Shaw17.4 Exhibition Display Cases, by Jim Stewart17.5 Graphic Design, by Jacqueline Tang17.6 Universal Design and Diversity, by Craig Thompson and Phillip Thompson17.7 Green Design, by Yvonne Tang19. MultimediaBy Ken Reddick and Milica Stefancic19.1 What Is It? 19.2 Where and How Is Multimedia Incorporated into the Exhibition? 19.3 Hardware and Software 19.4 Centralized Control or Not? 19.5 Where Does the Content Live? 19.6 Visitor Technology 19.7 Social Media 19.8 Operations and Maintenance19.9 From Concept to Delivery and Beyond: Developing a Multimedia Exhibit Case Study: Developing Multimedia Experiences for the Royal OntarioMuseum's "Ultimate Dinosaurs: Giants from Gondwana"20. Fabrication and InstallationBy Erich Zuern20.1 Design-Build or Design-Bid - What's the Difference?20.2 Getting Started20.3 Fabrication Process20.4 Tracking and Scheduling20.5 Warranty21. Financial PlanningBy Erich Zuern21.1 Creating an Exhibition Budget21.2 Direct Exhibition Costs21.3 Related Exhibition Costs21.4 Managing the Budget22. Effective Exhibition Project ManagementBy Robert LaMarre22.1 What is Project Management and Why is it Needed?22.2 A Team Effort22.3 Applying Project Management Methodology22.4 Certifications and Continuous Learning22.5 Completing the Tasks23. Conclusion: Making Meaning through Museum ExhibitionsBy Gail Dexter LordGlossaryAnnotated BibliographyList of ContributorsIndex
