MIM - Creation of MIM Exhibits


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  • Also exhibits on instrument types, regions, social groups, genres Note to moderator: I will review the design briefly to give context and focus most on DRM process (see notes next slide)
  • Multiple exhibit components - Musical instruments framed - Contextual - Regalia, masks, decorative arts, furniture - AV - Images - Text and object labels
  • Design vocabulary (installed in following manner): platform, backboard, monitor, title, map, (objects typically in ensemble groupings and their labels), graphic rail (3 images above of finished exhibits: including large, medium and small exhibits. With and without regalia, and AV.) If Matt has better examples please feel free to substitute)
  • From the field to the exhibit.
  • I won’t go into the Technology since Garry will likely talk about this. Just cite as ingredient.
  • As discussed in first session G&A: construction plans, floorplans, elevations
  • -Not always so neat. Often logistics and speed entailed reordering of this process.
  • -DRM book with data sheets and elevations
  • Objects laid out on tables
  • Objects laid out on tables
  • Font and side orientations for mount makers
  • Font and side orientations for mount makers
  • Challenges all resulting from speed of project Unprecedented scale and scope of new project in all aspects Exhibits simultaneous with building of the team, building, and collection # of exhibits – about 300 Goals were moving target instruments and AV in #. Reality was a non-linear process; affected speed and cohesiveness of exhibit components Occupancy in December 2009 Getting to production: flow Attaining 80% acquisition Limited TMS functionality and access to objects Process not linear due to logistics Object selection : often at DRM, which was often needed to finalize drawing Numerous back and forths with drawings Process: often writing after exhibit installed (or designed for installation) Cohesiveness: bulk of research done after wish list and acquisitions Design often ahead of acquisitions (locked into early design plans); production often ahead of design (keeping things moving) Production realization: maintaining communication of key ideas between departments and throughout production stages; accuracy of drawings; remnants of virtual phase -
  • Size, scope, getting doors open -- the biggest prizes – were the biggest challenges Tools: team, TMS 3. Time: we doubled our acquisition goal ½-way through. Raising the bar to make an ambitious goal led to the making of a great start – a collection with diversity and breadth that will attract other donations and loans.
  • Possible questions: Could you talk more about the mounts, and installation process? What are your methods of receiving and incorporating feedback? What kind of outsourcing did you do: pedestals, vitrines, platforms, mannequins, graphics, titles? What kind of attendance are you getting?
  • MIM - Creation of MIM Exhibits

    1. 1. CREATION OF MIM EXHIBITS <ul><li>Bill DeWalt </li></ul><ul><li>President and Director </li></ul>
    2. 2. OVERALL PROCESS <ul><li>It takes a team </li></ul><ul><ul><li>Curators -- overall content </li></ul></ul><ul><ul><li>Exhibits -- execution (labels, maps, design) </li></ul></ul><ul><ul><ul><li>Editor </li></ul></ul></ul><ul><ul><ul><li>Copy Editor </li></ul></ul></ul><ul><ul><ul><li>Image Acquisition Coordinator </li></ul></ul></ul><ul><ul><ul><li>Graphic designer </li></ul></ul></ul><ul><ul><ul><li>Exhibit designers </li></ul></ul></ul><ul><ul><ul><li>Production (vitrines, pedestals, labels, etc.) </li></ul></ul></ul>
    3. 3. OVERALL PROCESS -- 2 <ul><li>It takes a bigger team </li></ul><ul><ul><li>Multimedia producers -- AV components </li></ul></ul><ul><ul><li>Construction team -- platforms and elements of displays </li></ul></ul><ul><ul><li>Mount makers -- presentation of instruments </li></ul></ul><ul><ul><li>Installers -- implementation </li></ul></ul>
    4. 4. EXHIBIT DEVELOPMENT <ul><li>Christina Linsenmeyer </li></ul><ul><li>Curator for Europe and Mechanical Instruments </li></ul>
    5. 5. Exhibit Vision <ul><li>Geo-galleries: every country in the world </li></ul><ul><li>Exhibits: multiple exhibit components </li></ul>
    6. 9. <ul><li>Non-traditional scope of collections </li></ul><ul><li>Open air display </li></ul><ul><li>Contextual information </li></ul><ul><li>Sennheiser “Museum Guideport” Technology </li></ul>MIM Difference
    7. 10. First steps: “Virtual” exhibits <ul><li>Initial design phase: Gallagher & Associates </li></ul><ul><li>Floorplans: built on virtual wish lists </li></ul><ul><li>Elevations: built on virtual photos and mm. </li></ul><ul><li>Acquisitions phase </li></ul><ul><li>Prototypes </li></ul><ul><li>First finished bay in museum </li></ul>
    8. 11. Acquisition to Production <ul><li>Acquisitions </li></ul><ul><li>Registration: record, unpack, photo, measure </li></ul><ul><li>Object selection </li></ul><ul><li>Finalized drawings with TCI </li></ul><ul><li>Schedule DRM at 80% </li></ul>
    9. 12. DRMs (Design Review Meetings) <ul><li>Curatorial Assistant prepares “DRM book” </li></ul><ul><li>Registration pulls all objects </li></ul><ul><li>Meeting of Curator, Designer, and Conservator </li></ul>
    10. 15. DRM Goals <ul><li>At meeting </li></ul><ul><ul><li>Review condition needs </li></ul></ul><ul><ul><li>Confirm design </li></ul></ul><ul><ul><li>Discuss mounting </li></ul></ul><ul><li>Following meeting </li></ul><ul><ul><li>Document DRM notes in TMS </li></ul></ul><ul><ul><li>Objects  mount makers and conservation </li></ul></ul><ul><ul><li>Conserved objects with mounts  installation team </li></ul></ul>
    11. 18. Challenges <ul><li>Unprecedented scale and scope: time </li></ul><ul><li>Getting to production: supply chain and flow </li></ul><ul><li>Production realization: communication </li></ul>
    12. 19. Lessons Learned <ul><li>Vision and assets bring challenges </li></ul><ul><li>Get as many tools in place as possible </li></ul><ul><li>Keep it simple, improve it later </li></ul><ul><li>Identify ways to maintain realistic schedule </li></ul><ul><li>Flexibility has rewards </li></ul><ul><li>Communication maintains positive momentum </li></ul>
    13. 20. Next Steps <ul><li>Tying up Phase I installations </li></ul><ul><li>Review and responding to feedback </li></ul><ul><li>Prioritizing Phase 2 goals </li></ul><ul><li>Installation of Phase 2 </li></ul><ul><li>Preparation for Fall season </li></ul>
    14. 21. MIM PARTNERSHIPS <ul><li>April Salomon </li></ul><ul><li>Exhibition Manager </li></ul>
    15. 22. MIM Partnerships Exhibit Development Fender Musical Instrument Corporation C.F. Martin Guitar & Co. Steinway & Sons
    16. 23. Fender Exhibit
    17. 24. Martin Exhibit
    18. 25. Steinway Exhibit
    19. 26. Lessons Learned <ul><li>Agree on the message </li></ul><ul><li>Balance recognition vs. “branding” </li></ul><ul><li>Remain flexible to change </li></ul><ul><li>Start the process early </li></ul>
    20. 27. AUDIOVISUAL ASPECTS OF MIM EXHIBITS <ul><li>Garry Kling </li></ul><ul><li>Manager of Multimedia Collections </li></ul>
    21. 28. What is the purpose of audiovisual material at MIM? Illustrative rather than interpretive Provides visual and musical context for the physical collections Ideally, clips are themselves museum objects
    22. 29. Where does it come from? Commercial materials Curatorial consultants Filmmakers Archival material
    23. 30. How is video selected? To show particular instruments in action To demonstrate musical traditions Musically compelling content Excellent visual quality and content
    24. 31. How is video exhibited? 4 clips per exhibit, 2 minutes total Each clip averages 30 seconds Some exhibits share monitors Estimated total of 8 hours of content – so far
    25. 32. How is video exhibited? Many steps to prepare video for exhibit Physical and digital labeling Sennheiser Guideport – wireless audio Video is delivered via individual players in each exhibit
    26. 33. Audio Experience Identifiers in the exhibits pair with receivers and head phones carried by guests Audio is active in an area near the exhibit so that multiple guests hear the same audio Audio is hands-free, cross fades between exhibits automatically
    27. 34. Video Experience <ul><li>Exhibit identifier and label </li></ul><ul><li>Exhibit with video screen </li></ul>
    28. 35. Video Example – Sierra Leone and Liberia