8. The Old Exhibition Development Model
Layout
with
Designer
Curator
Content
Idea
Checklist
Public
Programs
Other
Inter.
tools
9. 1. Process is more collaborative
• Interdisciplinary core
team is created at the
start
• Core team includes:
• Curator(s)
• Interpretation
specialist
• Evaluator
• Designer
• Project Manager
Layout
Core
team
Content
Idea
Checklist
Public
Program
Other
Inter.
tools
10. 2. Interpretation Specialist Plays a Key Role
• They represent the
visitors’ needs at the
core team table
• They lead the
development process
• They ensure that
learning theories are
applied
• They are involved in the
content development
process
12. Big Idea
The landscapes and rich
cultural traditions of the
Southwest fueled the
imaginations of early 20th
century artists like
Georgia O’Keeffe.
The evocative still life
paintings produced by
these artists provide a
fascinating example of
art’s capacity to
document the essence of
a place.
14. Learning Outcomes
• The Southwest art scene: Visitors will learn about the
early 20th century phenomenon of artists visiting the
Southwest
• Defining still life: Visitors will expand their
understanding of what a still-life is and what it can
convey.
• Creativity: Visitors will be able to express their
creativity using the works in the exhibition or elements
of Southwestern culture to create their own still lifes.
• Attitude: Visitors will develop a positive attitude
toward the museum as a place to explore their creative
impulses as well as a place to learn about different
cultures.
15. • Big Idea and Learning
Outcomes are used to:
• Create Interpretive plan
• Develop interpretive
material and experiences
• Inform exhibition
structure and layout
• Finalize checklist
• Support exhibition
planning by staff
• Evaluate the success of
the show
19. Formative: Robert Indiana
Visitors’ interests:
• Artist’s life (30/40)
• Inspiration (30/40)
• Process/technique
(26/40)
• Artist’s or other’s
explanation about
the meaning
behind the work
(7/40)
23. Summative: Exhibition Evaluations
• Assess if learning
outcomes have been met
• Assess if expectations
regarding level of
satisfaction, and use of
interpretive tools have
been met
• Identify problems that
might be addressed in
future exhibitions
• Audience demographics
& psychographics
32. Challenges
• Resistance mostly
from curatorial staff
• Resistance from
other institutions
that are not willing to
modify their shows
• More time-consuming
• More contentious
33. Next Steps
• Refine the process
• Extend it to non-paid
exhibitions and
permanent
collection
• How do we apply
the process to non-traditional
exhibitions?
