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.
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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.
In this article, John Chiodo, Senior Associate, and Alissa Rupp, architect and exhibit designer, both for the Portico Group, explore six ways museums can enable visitors to extract meaning out of exhibits. The authors contend that exhibits designed specifically to support meaning making can help visitors find order, connections and compassion in their environment, which will allow museums to retain and even grow audiences.
In this exhibition review, Eric Siegel, Director and Chief Content Officer at the New York Hall of Science, critiques the "Mythic Creatures: Dragons, Unicorns, and Mermaids" exhibit at the American Museum of Natural History. Siegel provides a walkthrough of the exhibit and remarks about the audience and pedagogy.
This article presents some of the basic tools to keep in mind when developing a traveling exhibitions program. Michelle Torres-Carmona, Director of Scheduling & Exhibitor Relations at the Smithsonian Institution Traveling Exhibition Service, provides advice on developing a traveling exhibit (concept, collaborators, budgeting, contracts) and Whitney Owens, manager of the traveling exhibitions program at The Field Museum, Chicago, discusses how to best market the exhibition tour.
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TEAM MEMBERS:
Michelle Torres-CarmonaWhitney Owens
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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TEAM MEMBERS:
Richard FaronNational Association of Museum Exhibition
resourceresearchProfessional Development, Conferences, and Networks
In this article, Joyce Cheney, independent exhibit developer and curator of HELP's Apron Strings exhibit, and Edana McSweeney, co-director of the Hands-on Experiential Learning Project (HELP), describes how the project, created by the Mid-America Arts Alliance (M-AAA), provides customized, on-site training to institutions without disrupting daily museum operations or community access. The authors also describe the impact of HELP on a small institution--The Depot Museum--in Henderson, Texas.
In this article, George Mayer, Vice-President of Museum Services for Art Guild, Inc., guides exhibit developer on how to write successful Request for Proposals (RFPs). Mayer emphasizes the importance of "doing your homework first" to better understand your project, partners/contractors, and shared goals.