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Participatory Exhibition Design

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Participatory Exhibition Design

  1. 1. Participatory Exhibition Design: Inviting Visitors to Be Part of the Process Silvia Filippini Fantoni, Indianapolis Museum of Art
  2. 2. The Collection
  3. 3. User-centred Approach Visitor-Centered Approach
  4. 4. New Exhibition Development Process
  5. 5. Inspiration • Non-art Museums • Detroit Institute of Art • Oakland Museum of California • Denver Art Museum • Brooklyn Museum
  6. 6. Principles
  7. 7. The Old Exhibition Development Model Layout with Designer Curator Content Idea Checklist Public Programs Other Inter. tools
  8. 8. 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
  9. 9. 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
  10. 10. 3. Identify Big Idea and Outcomes
  11. 11. 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.
  12. 12. Learning Outcomes
  13. 13. 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.
  14. 14. • 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
  15. 15. 4. Incorporate testing and evaluation throughout the process
  16. 16. Methods
  17. 17. n=576 Front-End: Automobile Design 21% 21% 27% 31% 35% 30% 25% 20% 15% 10% 5% 0% Art Deco Automobiles Duesenbergs Automobile Masterpieces Concept Cars
  18. 18. 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)
  19. 19. Formative: Star Studio
  20. 20. Design Thinking Workshop
  21. 21. Visual Identity Testing
  22. 22. 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
  23. 23. Results
  24. 24. Before
  25. 25. After
  26. 26. 30-50% 40-60% 60% 46% Better integration and usage of interpretative tools in the exhibition
  27. 27. 40% 4,000 24% 60% Successful implementation of participatory projects
  28. 28. Increased visitors attendance • 44,000 ca. visitors in 2012-2013 • 81,000 ca. visitors in 2013-2014
  29. 29. Increased Satisfaction Level • Snapshot: 4.49/5 • Beauty & Belief:4.62/5 • Ai Weiwei: 4.68/5 • Matisse: 4.73/5 • Robert Indiana: 4.73/5 • Face to Faces: 4.80/5
  30. 30. Key Messages are Communicated more Effectively Outcomes Beauty & Belief Robert Indiana 1 73% 97% 2 67% 86% 3 67% 79% 4 60% 79% 5 47% 62% 6 40% 34% 7 30% 24% 8 23%
  31. 31. Challenges • Resistance mostly from curatorial staff • Resistance from other institutions that are not willing to modify their shows • More time-consuming • More contentious
  32. 32. Next Steps • Refine the process • Extend it to non-paid exhibitions and permanent collection • How do we apply the process to non-traditional exhibitions?
  33. 33. Questions? sfantoni@imamuseum.org

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