My new book co-authored with Mimi Michaelson, titled "Creating the Visitor-Centered Museum," was the subject of an event at the Oakland Museum of California (OMCA) on Friday, February 3, 2017. I presented the accompanying slide deck as a backgrounder for a dialogue with OMCA Director and CEO Lori Fogarty before we both took questions from the audience. A great and stimulating time, with friends, students, and colleagues from near and far. Many thanks to the John F. Kennedy University Museum Studies Program and OMCA for organizing it!
MW17 Closing plenary: Creating the Visitor-centered MuseumPeter Samis
A rare opportunity to come full circle: 10 years ago I presented about an interpretive evaluation that showed that even if our digital interpretive resources made a huge difference for those who used them, most visitors didn't. For five years I've been researching and co-writing a book on innovative museums that use more holistic ways of reaching their visitors. Here's the presentation I gave. (I was followed by Merilee Mostov, Director of Inclusive Interpretation at the Columbus Museum of Art--one of our ten case study museums.)
Visitor-Centered: What Does it Mean to Walk that Talk?Peter Samis
Presented at the National Museum of Denmark to a mixed audience of Nationalmuseet curators, educators, and staff from other Danish museums. The presentation addresses responsiveness to visitor needs in developing interpretive components and gallery design. I followed the talk with a hands-on workshop in which participants wrote labels in new ways, observed visitors, and edited their galleries with visitor experience in mind. Part of a 2-day symposium organized by Mette Boritz of the National Museum.
MW17 Closing plenary: Creating the Visitor-centered MuseumPeter Samis
A rare opportunity to come full circle: 10 years ago I presented about an interpretive evaluation that showed that even if our digital interpretive resources made a huge difference for those who used them, most visitors didn't. For five years I've been researching and co-writing a book on innovative museums that use more holistic ways of reaching their visitors. Here's the presentation I gave. (I was followed by Merilee Mostov, Director of Inclusive Interpretation at the Columbus Museum of Art--one of our ten case study museums.)
Visitor-Centered: What Does it Mean to Walk that Talk?Peter Samis
Presented at the National Museum of Denmark to a mixed audience of Nationalmuseet curators, educators, and staff from other Danish museums. The presentation addresses responsiveness to visitor needs in developing interpretive components and gallery design. I followed the talk with a hands-on workshop in which participants wrote labels in new ways, observed visitors, and edited their galleries with visitor experience in mind. Part of a 2-day symposium organized by Mette Boritz of the National Museum.
How does someone end up making a career of creating exhibits? Until recently, the paths for most people entering the museum exhibition field have been many and varied – and I’m no exception. My hope with this discussion is to shed some light on the odd impact various interests and events from childhood to today have led me on this path, and the significant impact that serendipity has played. Along the way, I’ll be making observations about museums and exhibitions based on my experiences “in the wild”. And, I hope I’ll be able to shed some light on how the museum and exhibit theory imparted in the KI program reacts when it collides with reality (!).
EveryLibrary Entre-ed 2018 National Forum - School Libraries and Makerspaces ...EveryLibrary
Presented at Entre-Ed National Forum 2018 - Collaborations between learning facilitators in schools and library makerspaces are increasingly providing engaging, hands-on learning opportunities for students. Join us for this highly-interactive session that explores how these collaborations are progressing. Session participants will have time to briefly describe their own experiences fostering entrepreneurship learning opportunities involving schools, libraries, and makerspaces. John Chrastka, Heather Lister, Paul Signorelli
Museum in a Box: A Case Study (with notes)George Oates
Presented to senior EU cultural figures at A Vision for European Cultural Heritage 2025, I presented Museum in a Box as a forward-thinking company trying to succeed in making the best of the current state of digital cultural heritage. (Notes included in this version).
Presentation by Suzanne Keene (UCL) on her research into more effective ways of promoting the use of Stored Collections, based on her Collections for People research programme.
Mahendra Mahey, BL Labs Manager, British Library
--
This Award recognises an artistic or creative endeavour that has used the Library’s digital content to inspire, amaze and provoke.
Presentation summarising five years of mobile learning projects and their evaluation in the British Museum's Samsung Digital Discovery Centre. This was presented at the MCG Museums Get Mobile! event in Bristol on 16 May 2014.
Presented in London at Tate Modern's symposium, "Museums & Mobiles in the Age of Social Media," on Sept. 7, 2010. Talks about the explosion of the old single provider audio tour model in the face of apps, museums assuming a greater role in their own mobile content creation, and some visitors (though by no means all) wanting to use their own personal devices. How will museums bring their mobile multimedia interpretation to a broader public than the ones who own iPhones? Suggests opportunity spaces born of the disruption in this field.
MW2011: D. Laursen, Guided expectations: a case study of a sound collage audi...museums and the web
This paper is a user evaluation of a mobile phone audio guide, developed for visitors to use at the National Gallery of Denmark. The audio guide is offered as a downloadable MP3 file at every incoming visitor who is carrying a mobile phone with an open bluetooth connection. The guide itself is structured through association, offering an experience more comparable to an audio documentary than a traditional guided tour. Instead of directing the visitor's focus of attention to selected points and objects provided by the museum as a producer, the sound collage relates indirectly to the objects of the exhibition, emphasizing visitors' agency and authorship.
The paper reports on a number of strategies developed by visitors experiencing an unfamiliar guide structure. These strategies reflect a conflict between the initial expectation of guiding instructions and the freedom of making choices according to personal interest, and a conflict between the expectation of a learning experience rather than an aesthetic experience. The results indicate that most visitors are able to make sense of the guide and to use it successfully, in different ways, to enrich their visit. The evaluation also shows that visitors are fund of using their own mobile phones - but they have several problems with their phones in downloading the MP3 file (accepting the file, finding the file, memory problems, etc.).
A presentation from Museums and the Web 2011 (MW2011)
Accessibility and Mobile: Radically Changing the Museum Visit (MCN2014)Sofie Andersen
Presenters: Sofie Andersen, Antenna Lab
(Antenna International); Sina Bahram,
Prime Access Consulting; Museum of
Fine Arts, Boston; Annie Leist, Project
Coordinator, Art Beyond Sight; Anna
Lindgren-Streicher, Project Manager and
Research & Evaluation, Museum of Science,
Boston.
Mobile technologies are changing the lives
of many individuals with disabilities, while
also becoming ubiquitous in museums
and cultural attractions. Smartphones and
touchscreen technologies have potential
positive and negative impacts on the
experiences of individuals with access
needs. At the heart of this issue are three
concerns: considering how smartphones
are used by individuals with access needs;
determining which features of commercial
mobile devices, apps, and universal design
principles can be adapted for museum
contexts (and how these relate to other
in-gallery offerings); and documenting
what is already being applied to mobile
solutions in museums.
The panel is informed by the industry
trends outlined in recent mobile surveys
and conference discussions, including
Museums and Mobile surveys (2009–2013),
the “Access” issue of Curator magazine
(July 2012), TechatLead 2013, CSUN 2014,
MW2014, WebAim, and ongoing global
surveys and focus groups by Art Beyond
Sight with Antenna International.
From Headphones to Microphones: Co-creating the soundtracks to cultureNancy Proctor
Keynote presentation at symposium on mobile technologies for museums at Rijksmuseum 31 May 2016 http://www.lkca.nl/agenda/bijeenkomsten-lkca/mobiele-apps-rijksmuseum co-organized with Landelijk Kennisinstituut Cultuureducatie en Amateurkunst.
How does someone end up making a career of creating exhibits? Until recently, the paths for most people entering the museum exhibition field have been many and varied – and I’m no exception. My hope with this discussion is to shed some light on the odd impact various interests and events from childhood to today have led me on this path, and the significant impact that serendipity has played. Along the way, I’ll be making observations about museums and exhibitions based on my experiences “in the wild”. And, I hope I’ll be able to shed some light on how the museum and exhibit theory imparted in the KI program reacts when it collides with reality (!).
EveryLibrary Entre-ed 2018 National Forum - School Libraries and Makerspaces ...EveryLibrary
Presented at Entre-Ed National Forum 2018 - Collaborations between learning facilitators in schools and library makerspaces are increasingly providing engaging, hands-on learning opportunities for students. Join us for this highly-interactive session that explores how these collaborations are progressing. Session participants will have time to briefly describe their own experiences fostering entrepreneurship learning opportunities involving schools, libraries, and makerspaces. John Chrastka, Heather Lister, Paul Signorelli
Museum in a Box: A Case Study (with notes)George Oates
Presented to senior EU cultural figures at A Vision for European Cultural Heritage 2025, I presented Museum in a Box as a forward-thinking company trying to succeed in making the best of the current state of digital cultural heritage. (Notes included in this version).
Presentation by Suzanne Keene (UCL) on her research into more effective ways of promoting the use of Stored Collections, based on her Collections for People research programme.
Mahendra Mahey, BL Labs Manager, British Library
--
This Award recognises an artistic or creative endeavour that has used the Library’s digital content to inspire, amaze and provoke.
Presentation summarising five years of mobile learning projects and their evaluation in the British Museum's Samsung Digital Discovery Centre. This was presented at the MCG Museums Get Mobile! event in Bristol on 16 May 2014.
Presented in London at Tate Modern's symposium, "Museums & Mobiles in the Age of Social Media," on Sept. 7, 2010. Talks about the explosion of the old single provider audio tour model in the face of apps, museums assuming a greater role in their own mobile content creation, and some visitors (though by no means all) wanting to use their own personal devices. How will museums bring their mobile multimedia interpretation to a broader public than the ones who own iPhones? Suggests opportunity spaces born of the disruption in this field.
MW2011: D. Laursen, Guided expectations: a case study of a sound collage audi...museums and the web
This paper is a user evaluation of a mobile phone audio guide, developed for visitors to use at the National Gallery of Denmark. The audio guide is offered as a downloadable MP3 file at every incoming visitor who is carrying a mobile phone with an open bluetooth connection. The guide itself is structured through association, offering an experience more comparable to an audio documentary than a traditional guided tour. Instead of directing the visitor's focus of attention to selected points and objects provided by the museum as a producer, the sound collage relates indirectly to the objects of the exhibition, emphasizing visitors' agency and authorship.
The paper reports on a number of strategies developed by visitors experiencing an unfamiliar guide structure. These strategies reflect a conflict between the initial expectation of guiding instructions and the freedom of making choices according to personal interest, and a conflict between the expectation of a learning experience rather than an aesthetic experience. The results indicate that most visitors are able to make sense of the guide and to use it successfully, in different ways, to enrich their visit. The evaluation also shows that visitors are fund of using their own mobile phones - but they have several problems with their phones in downloading the MP3 file (accepting the file, finding the file, memory problems, etc.).
A presentation from Museums and the Web 2011 (MW2011)
Accessibility and Mobile: Radically Changing the Museum Visit (MCN2014)Sofie Andersen
Presenters: Sofie Andersen, Antenna Lab
(Antenna International); Sina Bahram,
Prime Access Consulting; Museum of
Fine Arts, Boston; Annie Leist, Project
Coordinator, Art Beyond Sight; Anna
Lindgren-Streicher, Project Manager and
Research & Evaluation, Museum of Science,
Boston.
Mobile technologies are changing the lives
of many individuals with disabilities, while
also becoming ubiquitous in museums
and cultural attractions. Smartphones and
touchscreen technologies have potential
positive and negative impacts on the
experiences of individuals with access
needs. At the heart of this issue are three
concerns: considering how smartphones
are used by individuals with access needs;
determining which features of commercial
mobile devices, apps, and universal design
principles can be adapted for museum
contexts (and how these relate to other
in-gallery offerings); and documenting
what is already being applied to mobile
solutions in museums.
The panel is informed by the industry
trends outlined in recent mobile surveys
and conference discussions, including
Museums and Mobile surveys (2009–2013),
the “Access” issue of Curator magazine
(July 2012), TechatLead 2013, CSUN 2014,
MW2014, WebAim, and ongoing global
surveys and focus groups by Art Beyond
Sight with Antenna International.
From Headphones to Microphones: Co-creating the soundtracks to cultureNancy Proctor
Keynote presentation at symposium on mobile technologies for museums at Rijksmuseum 31 May 2016 http://www.lkca.nl/agenda/bijeenkomsten-lkca/mobiele-apps-rijksmuseum co-organized with Landelijk Kennisinstituut Cultuureducatie en Amateurkunst.
“Recruiting the World” - so how's that going for you? Presentation in the "Evaluating Mobile Success" panel at AAM2013, Baltimore, 21 May 2013. See also presentations by the other panelists:
Matthew Fisher: http://www.slideshare.net/nightkitcheninteractive/is-it-working
Loic Tallon http://www.slideshare.net/LoicT/120520-loic-aam-apps-effective-ss-22423632
Matthew Petrie: (coming)
Accessibility & Inclusion: Creative Content Choices (Presented at AAM2015)Sofie Andersen
What strategies help create great content for diverse museum audiences, including patrons with disabilities? Should we aim at a single specific audience or incorporate a more inclusive, universal design approach? How might this material be sourced, funded and implemented? We will address these questions and more in a lively in-depth discussion, examining verbal description for visitors with low or no vision as one model to illustrate the wide variety of options and the decision-making process.
Session Format : Talk Show
Learner Outcomes
1. Learn ways to think about the balance between best practices for access audiences and the unique needs and resources of each institution.
2. Consider strategies for creating content and programs for targeted audiences versus using a more universal design approach, and how to apply both.
3. Understand the variety of ways to source, generate and evaluate accessible and inclusive content, and learn real options for funding such efforts.
Accessing Smartphones: Mobile for All in Museums (American Alliance of Museum...Sofie Andersen
Conference presentation on the research study of Antenna International/Antenna Lab together with Art Beyond Sight looking at the use of mobile in museums for individuals with disabilities. Contributing panelists were; Sofie Andersen, Annie Leist, Christine Murray, Danielle Linzer, Tasia Endo and Matt Kaplowitz.
The eyes want to have it: Multimedia Handhelds in the Museum (an evolving story)Peter Samis
A variant of this presentation, titled "Knowledge on Demand, Knowledge in Hand: Visitor-centered mobile multimedia," was delivered on 3 October 2008 at the conference "Knowledge in Demand '08" in Bern, Switzerland.
Is it working? Analysing the effectiveness of mobile in museumsLoic Tallon
Presentation delivered @ the AAM Annual Conference 2013 in session entitled "Is it working?: evaluating the success of mobile apps" with Matthew Fisher, Nancy Proctor & Matthew Petrie.
See Matthew Fisher's presentation here: http://www.slideshare.net/nightkitcheninteractive/is-it-working
All icons used in the presentation are from The Noun Project and are Public Domain or CC0. The following icons are attributed under the CCBY license:
Museum by Joris Hoogendoorn
Camera by Stanislav Levin
Survey Connie Shu
Speech Bubble Convoy Interactive
Social Media by Joris hoogendoorn
Happy, Neutral, Sad & Shocked by Austin Condiff
Newspaper by John Caserta
Earth by Francesco Paleari
Person by Paulo Sá Ferreira - Purple Matter
Money by Luis Prado
Code by Brennan Novak
Speaker by Harold Kim
Film by Björn Wisnewski
Database by Anton Outkine
Bullet by Brent Maxwell
Cliff Warning by Luis Prado
Computer by Alyssa Mahlberg
551 museum colleagues share their experience and perspectives on the objectives, challenges, life-cycle and implementation of mobile projects at their cultural institution.
A New Look at an Old Friend: Re-evaluating the Met's Audio Guide ServiceFrankly, Green + Webb
In September 2013, the Metropolitan Museum of Art launched a new audio guide. This presented an opportunity—and a need—to take a more strategic look at this long-standing service. Although the Museum has provided an audio-guide service for more than fifty years, thus far it has had a limited understanding of who uses the service and what kind of impact it might have. Who is the audio guide serving? What is and is not working?
In an effort to answer these questions, the Museum conducted an evaluation of its new audio guide in collaboration with Frankly, Green + Webb. We took a comprehensive look at the service, seeking to understand the entire visitor journey from initial awareness to the effect of the guide on the overall museum experience. This service design approach—though well established in the commercial sector —is relatively new in the museum field.
Our paper includes findings from the evaluation and insights we gained from the research process, as well as how these insights are applicable to the wider museum field. What can other museums learn from our experience? What is the value of evaluating an audio guide as a service rather than a product? How can museums move from evaluation data to insights and actionable recommendations? And perhaps most challenging: how can we design successful digital products and services in complex organizations with multiple stakeholders who have different levels of comfort with innovation and risk? These issues are not unique to the audio-guide service or to the Met; they are common to digital projects across all museums.
Paper available here: http://mw2015.museumsandtheweb.com/proposal/a-new-look-at-an-old-friend-re-evaluating-the-mets-audio-guide-service/
Speaker: Dr Suzanne Keene, Reader Emeritus in Museum Studies, UCL
With the recent National media interest, it is more important than ever that museums
can put their stored collections to work and make them accessible to the visiting
public. Building on the Collections for People research, this seminar will look at
practical ways of making stored collections more accessible.
This is the Henry Cole Lecture I gave in 2010 at the V&A museum. Most of the pictorial materials come from the V&A collections. There is also a short film that was inspired by the talk:
http://royalsociety.org/Events/The-Curious-Brain-in-the-Museum/
Communicating through objects and collections belgradeNicholas Poole
A presentation to the Serbian museum community as part of their 'Reshaping the Museum' project - addressing questions of the social purpose of museums, and the implications of new models for Collections Management.
Drawing from the Well of Language: Droughts, Floods, and Flows of MeaningPeter Samis
An attempt to distill some rules of thumb for museum interpretation, covering the spectrum from analog to digital. Delivered to an international audience of museum professionals in Yerevan, Armenia on October 21, 2012.
Presented to senior EU cultural figures at A Vision for European Cultural Heritage 2025, I presented Museum in a Box as a forward-thinking company trying to succeed in making the best of the current state of digital cultural heritage.
There's a second version with my presenter notes here:
https://www.slideshare.net/george08/museum-in-a-box-a-case-study-with-notes
The XY&Z of Digital Storytelling: Dramaturgy, directionality and designPeter Samis
Talk presented at Museums & the Web 2015 in Chicago on April 9, 2015. Co-authored with Tim Svenonius, it's a reflection on how digital narratives have become more efficient--for instance, cross-platform compatible--but less affecting, and an appeal to find more original ways to tell our stories.
A slightly enlarged version of a talk given on the panel "Bringing together theory and practice in digital museum communication" with Allegra Burnette, Costis Dallas, Lev Manovich, Susan Hazan, and Sarah Kenderdine. Museums & the Web, San Diego, CA, April 13, 2012. The discussion was just getting underway when the hour ended!
From Closed Silos to Collaborative Networks: Digital Impacts on MuseumsPeter Samis
Starts with results of an informal poll conducted among museum technology professionals at MCN 2011. Continues with 4 more in-depth case studies: the Indianapolis Museum of Art (IMA), Tate, MoMA, and the Walker Art Center (WAC). What are the impacts of digital publishing on organizational structures, workflows, and institutional voice? Presented in Rotterdam at DISH 2011.
Creating Dramas of Context, Communities of InterestPeter Samis
A presentation given in various forms at USC's Institute for Multimedia Literacy, the Vancouver Art Gallery, the University of Texas at Austin, and most recently via videoconference at the Maryland Institute College of Art.
Closing keynote given at the Museum Educators of Southern California Summer Workshop on June 25, 2010. It starts with a nod to John Seely Brown and his wisdom about solution confusion in rapidly changing technological times, then explores the boundaries between traditionally siloed museum departments that are merging/under threat in this new environment. From there a brief history of the role for new media interpretation in museums (art and otherwise), a summary of the Visual Velcro idea, and the role of mobile multimedia in supplying hooks to the hookless. Finally a summary of "Making Sense of Modern Art Mobile," and the implications of taking on publication and distribution of a mobile tour in-house. Ends with future plans and questions about the integration of social media in such publications.
After the heroism, collaboration: Organizational learning and the mobile spacePeter Samis
A presentation given with my colleague and co-author Stephanie Pau on April 16, 2009 at Museums & the Web in Indianapolis. It starts out with a report of inter-departmental collaboration around interpretation planning for exhibitions at SFMOMA and then focuses on mobile technologies, including the results of two evaluations indicating visitor preferences. Finally, we outline future directions for mobile multimedia development at SFMOMA.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
2. Museums.
We look like this on the outside:
For some people, the trouble starts when they walk through our door!
3.
4.
5. Too often, museums see technology
as a way to sidestep…
the larger issues we’re not prepared to face.
6. The Big Questions
• Why would anyone make this?
• What’s it doing in this big important museum?
• (aka: What’s remarkable about it?)
• What does it have to do with the other works around it?
• What would I be doing if I made this— or were in this historic
person’s boots?
In a word: Why should I care?
7. The elephantin the room is that:
The vast majority of American visitors do not
use technology during their museum visit.
So how do we reach them?
8. That was a question we set out to find answers to…
• 10 sites nominated by colleagues as
innovators in the field
• Mainly art museums, with some history
and multi-disciplinary museums (e.g.,
OMCA)
• Site visits followed by in-depth
conversations with museum leadership
and creative staff
• Case studies from the USA and
Europe
Co-written and co-researched with Mimi Michaelson, Ed.D.
22. Columbus Museum of Art, Ohio
Connectors
“Wonder Room” creativity studio
for kids and families
The museum has produced
jigsaw puzzles based on the art
“Any strategy that connects people to the art, besides the art itself.”
–Merilee Mostov
More family activities in the
Impressionist galleries
23.
24. Oakland Museum of California
California Portrait Gallery:
Draw Yourself
30. Museum of Contemporary Art • Denver
Stretching the bounds of normal behavior in mind and body
Art Meets Beast
31. Two takeaways from our research
Visitor-centered innovation goes hand-in-hand with museum change.
“We have to keep reevaluating: Who’s our
audience and what do they need from
us?”
For a visitor-centered museum, these questions are
the starting point of all museum business.
Are we forcing this person to take out his or her phone?
Who, as we say, are often puzzled, left feeling inadequate in the gallery, isolated from something important, ignorant and deficient. Is this the way we want our visitors to feel? To fear a visit to the intimidating museum?
Of course, not everyone avails themselves of the audio experiences we offer—no matter how illuminating and enjoyable they might be. In fact, most digital resources reach only a fraction of our audience. Which raises the question of what we’re doing for everyone else.
Denver has been a pioneer in visitor-centered innovation back to the 1980s. They tick all the boxes—as Melora has discussed. Here’s just one: Wild West-themed Bingo cards that are unobtrusively displayed in a pocket on the wall, and immediately give kids a treasure hunt and a mission in the gallery.
Denver has been a pioneer in visitor-centered innovation back to the 1980s. They tick all the boxes—as Melora has discussed. Here’s just one: Wild West-themed Bingo cards that are unobtrusively displayed in a pocket on the wall, and immediately give kids a treasure hunt and a mission in the gallery.
A few museums are sites of wonder, creativity and play. City Museum—really an artist’s vision of a 10-story playground—is one of them. Those are kids crawling through aerial tubes in the heart of the city. City Museum also has a 10-story slide.
Here is a history and culture museum that took its cue from art museums: note the simple, spare display, presenting each artwork in isolation, evocatively lit: on the left a black lung taken from a miner in this district, on the right a set of beer bottles. The museum knows that objects presented like this have their own visual power; they also know to tell a story on the side of each case that personalizes the object inside and delivers a message.
This is quite outrageous. A nineteenth-century painting by John Pettie has been outfitted with a touchscreen kiosk targeted to teens that updates the courtship theme in today’s terms: should she go for the rich city slicker or the farmer’s son living in Glasgow on a student budget, who aspires to be a veterinarian?
The Van Abbe Museum is trying to re-invent how people relate to museums. In this case, Gallery Hosts became “Game Masters” and helped people retrace their itinerary though the galleries, helping them to distill some insights from their visit. On the right, a cartoon by Dan Perjovschi that shows that no matter how many people may work in a museum, it often feels faceless and monolithic.
We’re all familiar with wall labels, but at Detroit, they add levels of depth by using conspicuous signage and easy-to-read laminated booklets right near the artworks they treat. Highlights and captions on the panel in the left hand picture help guide the visitor’s eye to especially significant parts of the painting.
And they project a film on a tabletop so you may vicariously experience a fabulous French banquet from the 18th century that uses the very same silver and porcelain dishes on display in the gallery. It brings the gallery to life—and gives us a seat at the table.
Some of the museums in the book are in heartland cities that don’t receive many tourists. They mustfind ways of connecting with their local community so families come back again and again.
At the OMCA, a digital drawing station enables visitors to make self-portraits, which are then displayed among the portraits from the collection on two screens, part of a constantly changing array of faces. For me, two messages emerged: all the decisions involved at every point in making my portrait—and that each and every one of us belongs in this museum.
This is quite outrageous. A nineteenth-century painting by John Pettie has been outfitted with a touchscreen kiosk targeted to teens that updates the courtship theme in today’s terms: should she go for the rich city slicker or the farmer’s son living in Glasgow on a student budget, who aspires to be a veterinarian?
This is quite outrageous. A nineteenth-century painting by John Pettie has been outfitted with a touchscreen kiosk targeted to teens that updates the courtship theme in today’s terms: should she go for the rich city slicker or the farmer’s son living in Glasgow on a student budget, who aspires to be a veterinarian?
The Van Abbe Museum is trying to re-invent how people relate to museums. In this case, Gallery Hosts became “Game Masters” and helped people retrace their itinerary though the galleries, helping them to distill some insights from their visit. On the right, a cartoon by Dan Perjovschi that shows that no matter how many people may work in a museum, it often feels faceless and monolithic.
The Van Abbe Museum is trying to re-invent how people relate to museums. In this case, Gallery Hosts became “Game Masters” and helped people retrace their itinerary though the galleries, helping them to distill some insights from their visit. On the right, a cartoon by Dan Perjovschi that shows that no matter how many people may work in a museum, it often feels faceless and monolithic.