Successfully reported this slideshow.
Musical Instrument Museum<br />Creating a Museum <br />from the Ground Up<br />
The 3 ‘News’<br />New Building and Exhibitions<br />New Collection<br />New Institution<br />
Origins<br />Minneapolis<br />Planning and Design<br />Brussels<br />Origins<br />Phoenix<br />MIM Team<br />Execution<br />
Phoenix<br />
Building Program<br />195,000 gross square feet<br />60,000 net square feet of core galleries<br />5000 changing exhibitio...
Opening<br />Apr 10<br />80 fte<br />70<br />60<br />50<br />40<br />30<br />20<br />10<br />Exhibit install<br />begins<b...
Isabelle de Borchgrave<br />Mannequins<br />Louis Halleaux<br />Phoenix<br />
The Mission and Vision<br />MIM’s mandate is to be global, with instruments exhibited from every country of the world.<br ...
The Mission and Vision<br />MIM’s core guest experience is to be compelling enough to drive repeat visitation <br />MIM is...
Speakers<br />Christina Linsenmeyer<br />Katie Anderson<br />Irene Peters<br />
Building the Collection<br />
Permanent Collection Vision<br />Geo-galleries: every country in the world<br />Exhibits: multiple exhibit components<br /...
Permanent Collections<br />Scope: Rethinking the collection<br />Traditional acquisition guidelines<br />Adding new divers...
Acquisition Process<br />Wish list for “virtual” exhibits<br />Curators, consultants, and sub-consultants<br />Travel and ...
The Unknown and the Known<br />No provenance<br />Selmer saxophone, Vichy auction (France, 1950s)<br />Limited provenance<...
Challenges<br />Global scope<br />Access to remote, restricted, and unsafe areas<br />Availability vs. wish list<br />Cult...
Lessons Learned<br />Scope<br />Change is good<br />Procedure<br />More research up front<br />Manage consultants entirely...
Next Steps<br />Phase 2 wish list<br />Filling gaps in the collections<br />Replacing place-holders<br />Research and reco...
Registration & Collections Mgmt<br />Major Responsibilities<br />Installation – currently top priority with about 25% left...
The Collection<br /><ul><li>Over 13,000 objects in the collection
Around 5,000 on view in exhibitions
Objects in permanent collection include:</li></ul>Instruments<br />Implements<br />Costumes<br />Cases<br /><ul><li>First ...
Most purchased, donations picking up since opening
Collection also contains a library and archival material</li></li></ul><li>Challenges in Building the Collections<br />Shi...
Package Damaged in Memphis Flood<br />
Challenges in Collections Care<br />Moved into building while construction was being completed – had to work closely with ...
Decap Dance Organ<br />
Installation<br />
Installation – Artist Gallery, John Lennon’s Piano<br />
Our Next Steps<br /><ul><li>Finish installation of Phase I
Finish move from temporary facility
Culling the large collections that were purchased as lots
Organize collections and create storage mounts
Organize, house and catalog archival materials
Standardize database entry
Policies and procedures</li></li></ul><li>Lessons Learned<br /><ul><li>Communication is critical
Ask a lot of questions
Don’t assume
Verify and confirm
Upcoming SlideShare
Loading in …5
×

MIM Session I - Building & Collection

536 views

Published on

  • Be the first to comment

  • Be the first to like this

MIM Session I - Building & Collection

  1. 1. Musical Instrument Museum<br />Creating a Museum <br />from the Ground Up<br />
  2. 2.
  3. 3. The 3 ‘News’<br />New Building and Exhibitions<br />New Collection<br />New Institution<br />
  4. 4. Origins<br />Minneapolis<br />Planning and Design<br />Brussels<br />Origins<br />Phoenix<br />MIM Team<br />Execution<br />
  5. 5. Phoenix<br />
  6. 6.
  7. 7.
  8. 8.
  9. 9.
  10. 10. Building Program<br />195,000 gross square feet<br />60,000 net square feet of core galleries<br />5000 changing exhibition space<br />Special galleries: Artist, Mechanical Music and Experience<br />Conservation Center<br />Collection handling and storage<br />299 seat Music Theater<br />
  11. 11.
  12. 12.
  13. 13.
  14. 14.
  15. 15.
  16. 16. Opening<br />Apr 10<br />80 fte<br />70<br />60<br />50<br />40<br />30<br />20<br />10<br />Exhibit install<br />begins<br />Oct 08<br />Topping off<br />Feb 09<br />Construction begins <br />Mar 08<br />Tempe office<br />Sep 07<br />First acquisition<br />Apr 07<br />First hire Oct 06<br />
  17. 17.
  18. 18.
  19. 19.
  20. 20.
  21. 21.
  22. 22.
  23. 23.
  24. 24. Isabelle de Borchgrave<br />Mannequins<br />Louis Halleaux<br />Phoenix<br />
  25. 25.
  26. 26. The Mission and Vision<br />MIM’s mandate is to be global, with instruments exhibited from every country of the world.<br />MIM’s guest experience is primarily an experience of seeing and hearing music being played by people within their culture. <br />
  27. 27. The Mission and Vision<br />MIM’s core guest experience is to be compelling enough to drive repeat visitation <br />MIM is to appeal to all - to a wide range of visitors, much wider than ‘specialty’ museums normally do.<br />Live performances in in the Music Theater will give guests an opportunity to hear the music from every corner of the globe. <br />
  28. 28. Speakers<br />Christina Linsenmeyer<br />Katie Anderson<br />Irene Peters<br />
  29. 29. Building the Collection<br />
  30. 30. Permanent Collection Vision<br />Geo-galleries: every country in the world<br />Exhibits: multiple exhibit components<br />Instruments are single component of exhibits<br />
  31. 31.
  32. 32. Permanent Collections<br />Scope: Rethinking the collection<br />Traditional acquisition guidelines<br />Adding new diversity & breadth<br />
  33. 33.
  34. 34.
  35. 35.
  36. 36. Acquisition Process<br />Wish list for “virtual” exhibits<br />Curators, consultants, and sub-consultants<br />Travel and foreign colleagues<br />Other resources<br />Networking with embassies, museums, scholars<br />Sources<br />Large existing collections<br />Collectors, dealers, auctions<br />Makers, Musicians<br />
  37. 37. The Unknown and the Known<br />No provenance<br />Selmer saxophone, Vichy auction (France, 1950s)<br />Limited provenance<br />GérardCopperé Collection, France, c. 1970-2000<br />Fiske Collection, Claremont College, 20th c.<br />In the field<br />Zampogna, Italy, 2009<br />Scissors dance, Peru, 2009<br />
  38. 38.
  39. 39.
  40. 40. Challenges<br />Global scope<br />Access to remote, restricted, and unsafe areas<br />Availability vs. wish list<br />Cultural sensitivity and permissions<br />Exhibit-minded acquisitions<br />Ensembles<br />Redundancy<br />Relationship to narrative and other components<br />Resources: facility, research tools, TMS, time<br />
  41. 41. Lessons Learned<br />Scope<br />Change is good<br />Procedure<br />More research up front<br />Manage consultants entirely<br />Network early and often<br />Large collections are a mixed blessing<br />No replacement for field work<br />Time<br />
  42. 42. Next Steps<br />Phase 2 wish list<br />Filling gaps in the collections<br />Replacing place-holders<br />Research and record clean-up<br />Devising classification system<br />Reviewing relationship to exhibit narratives<br />
  43. 43. Registration & Collections Mgmt<br />Major Responsibilities<br />Installation – currently top priority with about 25% left to install<br />Acquisition and processing – getting the collection in the door<br />Moving out of temporary facility in Tempe<br />Setting up permanent storage (layout and storage mounts)<br />Documenting the collection<br />Staffing Information<br />Currently 24 people<br />3 assistant registrars<br />1 collections manager<br />1 database administrator<br />1 photographer<br />1 documentation specialist<br />8 preparators<br />8 collections technicians<br />
  44. 44. The Collection<br /><ul><li>Over 13,000 objects in the collection
  45. 45. Around 5,000 on view in exhibitions
  46. 46. Objects in permanent collection include:</li></ul>Instruments<br />Implements<br />Costumes<br />Cases<br /><ul><li>First object accessioned in June 2007
  47. 47. Most purchased, donations picking up since opening
  48. 48. Collection also contains a library and archival material</li></li></ul><li>Challenges in Building the Collections<br />Shipping and Customs<br />Finding packers and shippers in countries that do not usual export to museums<br />Language – often we use translators<br />Foreign Politics<br />Customs<br />CITES<br />Economic Sanctions<br />Speed<br />Expensive to use air freight but we needed objects here<br />Cataloging incomplete<br />Difficult to provide proper collections care when moving so fast<br />Space<br />Collection moved five times as it outgrew its space<br />
  49. 49. Package Damaged in Memphis Flood<br />
  50. 50. Challenges in Collections Care<br />Moved into building while construction was being completed – had to work closely with contractors to provide safe access to installed exhibits<br />Great visitor experience results in several major challenges for collections care<br />Lighting in the galleries<br />Access in the galleries<br />Housekeeping – cleaning the exhibits is taking about 20 hrs/wk<br />New building with great environmental system but still learning how to use it<br />Playing the collection for demonstrations<br />Storage space<br />
  51. 51. Decap Dance Organ<br />
  52. 52. Installation<br />
  53. 53. Installation – Artist Gallery, John Lennon’s Piano<br />
  54. 54. Our Next Steps<br /><ul><li>Finish installation of Phase I
  55. 55. Finish move from temporary facility
  56. 56. Culling the large collections that were purchased as lots
  57. 57. Organize collections and create storage mounts
  58. 58. Organize, house and catalog archival materials
  59. 59. Standardize database entry
  60. 60. Policies and procedures</li></li></ul><li>Lessons Learned<br /><ul><li>Communication is critical
  61. 61. Ask a lot of questions
  62. 62. Don’t assume
  63. 63. Verify and confirm
  64. 64. Be Flexible and Innovative
  65. 65. Be ready to choose the lesser of two evils
  66. 66. Think about long-term
  67. 67. Build an amazing team that you don’t have to micromanage!</li></li></ul><li>Caring for a collection in transition: <br />Conservation -<br />preventive and active<br />
  68. 68. “MIM will collect and display musical instruments from every country in the world, preserving, protecting, and sharing these gifts with future generations.”<br />
  69. 69. “MIM will collect and display musical instruments from every country in the world, preserving, protecting, and sharing these gifts with future generations.”<br />
  70. 70. Target Financial Services Tempe<br />
  71. 71. ‘Geneva – Big Lab’<br />
  72. 72. ‘Geneva – Conservation Corner’<br />
  73. 73. ‘Geneva’ – Warehouse, outside<br />
  74. 74. ‘Geneva’ – parking lot<br />
  75. 75. MIM – Conservation Lab<br />
  76. 76. MIM – Quarantine & Freezer<br />
  77. 77. MIM – Galleries<br />

×