Teaching Exhibition Development and

by Polly McKenna-Cress and Kym Rice

Polly McKenna-Cress is Director reating exhibitions as a a house in the middle of a fast flowing of Exhibition Planning + professional pursuit has evolved river” (2014). How do we prepare the next Design at University of the Arts, well beyond the days of static generation for a field that is shifting so Philadelphia, Author, Creating C display. The process once defined by rapidly? How do we stay current, or more Exhibitions (2013) and 1st Vice object placement, material and color importantly, support innovative thinking? Chair of the Committee on Museum Professional Training selection, and Design with a capital D has (COMPT). She may be contacted at morphed into a more collaborative and Critical Considerations: The How [email protected]. inclusive enterprise centered on the end- and the Why user. None of our previous assumptions For this article, we focus on some critical Kym Rice is Director, Museum remains unchallenged. Processes now considerations for Museum Studies Studies Program, The George are open-ended and customized, and Programs—how we teach, what we teach, Washington University and Chair developers and must be flexible and why exhibitions should exist at all. of the Committee on Museum and adaptable. Technological innovations Professional Training (COMPT). proliferate, but with lower budget The “how we teach” our courses— She may be contacted at thresholds and higher visitor expectations, [email protected]. meaning how we structure and run a exhibition creators must prove to be course—offers faculty effective methods more agile than ever. So how do we teach to engage students. Many MS programs If you would like to comment on this new agile model? It is timely for have broken away from a standard this article or others in this issue, the Exhibitionist to take on the topic of classroom lecture format where a body please go to the NAME page on “teaching and learning about exhibition of information passes from professor Facebook or send us a tweet development and design” to mark this to students and then is parroted back @NAMExhibitions. phase. As the Smithsonian’s Cooper- in different forms. Instead we endorse Hewitt Museum technologist Seb Chan methods that support innovation as well recently told graduates of the SUNY-FIT as openness and transparency. Students Exhibition Design M.A. program, “there may learn museum history and theory, but couldn’t be a better or more exciting time class discussions concentrate on important to be graduating into the exhibition design strategic issues or changes in museum profession” (2014). practice over time including, for example, the move away from authoritative Chan’s talk recognizes this as a time curatorial models for exhibitions. Whether of transformation for and students focus on exhibition development their future staffs—challenging but also or fundraising, they all acquire a toolkit invigorating. In Museum Studies (MS) of specialized skills intended to promote programs, we work in collaboration with the critical and strategic thinking in students to find creative ways to approach combination with communication three “big picture” questions of general methods necessary for working concern to the profession: Who should successfully in today’s museums. MS decide what the museum should be? How programs foster student knowledge and will the “exhibition” be designed and experience by curricula that encourage defined? What future skills and adaptive students to: thinking do museum professionals need? As educators, as we evolve our approaches UÊܜÀŽÊœ˜ÊÌi>“‡L>Ãi`Ê«ÀœiVÌÃʜÕÌÈ`iÊÌ i to teaching exhibition creation, sometimes classroom, usually in collaboration with we feel as Chan does that “we’re building clients, audiences, or communities; 12

EXHIBITIONIST FALL '14 How do we prepare the next generation for a field that is shifting so rapidly?

UÊ«>À̈Vˆ«>Ìiʈ˜Êˆ˜ÌiÀ>V̈ÛiÊV >ÀÀiÌÌiÃÊ>˜` create exhibitions, students can think critiques (“crits”) with fellow students, strategically about new ways to approach faculty, and museum professionals; a particular problem.

UÊ>ÌÌi˜`Ê>˜`ÊVœ˜ÌÀˆLÕÌiÊ̜ʓÕÃiՓ‡ The question why an exhibition at focused symposia and conferences; all?” can be complicated. We not only emphasize content and communication UÊiÝ«iÀˆi˜ViÊLi ˆ˜`‡Ì i‡ÃVi˜iÃÊۈÈÌÃÊ̜ with audiences but also a critical museum collections or exhibition assessment of each decision as it occurs. design facilities that enhance knowledge Whether examining the simple choice of digital media, experience design, and to use a particular wall color or a more other methods with potential such as complex decision to involve visitors in game theory; helping to design an exhibition, students must be able to articulate clearly the UÊLՈ`Ê՘`iÀÃÌ>˜`ˆ˜}ÃʜvÊLiÃÌÊ«À>V̈Vià why, e.g. 7 ÞʈÃÊÌ ˆÃʈ“«œÀÌ>˜Ì]ÊÜ ÞÊ in museums with respect to critical is the exhibition format the way to Equipped with areas such as environmental communicate a topic? They build on sustainability, visitor studies, cultural what they are learning in the classroom, an awareness of property, and digital engagement; creatively adding, adapting, and applying their ideas to the field in innovative ways. how museums UÊÌ>Žiʜ˜‡ˆ˜iÊVœÕÀÃiÃÊ­vœÀÊVÀi`ˆÌʜÀÊ>à In some programs, these discussions create exhibitions, MOOCs), sometimes sharing a virtual move beyond the classroom and out classroom with individuals interested in into the public realm for testing with students can museums from all over the world; clients and potential end-users. By think strategically piloting or prototyping their ideas with UÊÌÀ>ÛiÊÌœÊœÌ iÀÊ>Ài>Ã]ÊÀi}ˆœ˜Ã]Ê>˜`Ê audiences to further shape content and about new ways countries to experience other practice understand resonance, students acquire to approach and cultures. new understanding that is key in their exhibition making. The simple act of a particular The other element of how is unpacking stating why decisions have been made, the way that the exhibition process particularly for end-users, is profound. problem. unfolds for any particular project. Following up with evaluation to assess In exhibitions, we focus on how a how it “works” can be even more development and design team not only empowering. These investigations are not conceptualizes themes and content but limited to the classroom but can be shared also addresses the skills and resources and discussed on local, national and needed to undertake a project. Students international scales. draw comparisons too from in-depth case studies presented by museum professionals As Leslie Bedford states in her that highlight their individual/institutional introduction to The Art of Museum experiences. Additionally, how explores Exhibitions, “It is critical to examine new practices in technology, media, visitor the why and not leap immediately, as we accessibility and sustainability, Equipped often do, to the how and the what of our with an awareness of how museums work” (2014).

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EXHIBITIONIST FALL '14 Attendees at the Creating Exhibitions Symposium discussing and debating under the interactive landscape of floating parasols by FLUX Foundation, October 11 & 12, 2013. The University of the Arts, Philadelphia. Courtesy of Richard Cress, Alusiv, Inc.

(continued from page 13) National and International Conversations Museum: Re-envisioning Exhibit Design on our Changing Field co-organized by UC Davis and hosted Field-wide conversations about exhibitions by Central Saint Martins, University of offer another opportunity for students, the Arts, London, in May 2014, debated professionals, and practitioners to tackle new thoughts on “designing for audience these issues—and more. In part, their engagement, interaction and participation” purpose is to spark the next generation (further discussed in this issue). A third, who will eventually implement these the Creating Exhibitions Symposium, ideas. Several Museum Studies programs was organized for the launch of the book, recently convened broad discussions Creating Exhibitions: Collaboration in among thought leaders, professionals, the Planning, Development and Design of faculty, and students as a way to further Innovative Experiences (McKenna-Cress unpack ideas and disseminate new & Kamien, 2013), and held over two days thinking. The June 2013 conference in October 2013. Discursive : Breaking Barriers to Effective Communication in Museums, Conceived as a conversation and hosted by Ryerson University and the Art workshop format, this symposium, Gallery of Ontario “provided a forum for hosted by the University of the Arts, deliberation concerning the integration of Philadelphia, with support from NAME art, design, and in the and DesignPhiladelphia, convened under creation of memorable and immersive an interactive landscape of hanging museum experiences, while balancing white parasols designed and installed by the public's expectations of self- FLUX Foundation. Some 150 participants directed expression and engagement” (including students from four different (Macalik, 2013). Another, Chaos at the MS programs) engaged with museum

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EXHIBITIONNIST FALL '14 The simple act of stating why decisions have been made, particularly for end-users, is profound.

and creative endeavor thought-leaders It seemed to me at the time that the in integrative . Keynote group assembled was collectively speakers Mark O’Neill, Head of Arts and qualified to resolve almost any issue Museums Glasgow, and Elaine Heumann facing the museum field today… The Gurian, Senior Museum Consultant, chance to collaborate in a The Museum Group, sounded a museum process with some of the field's living wake-up call. Both speakers discussed legends was truly amazing and I the power and social purpose of would have to call the symposium one museums as civic spaces for socializing, of the most meaningful experiences learning, and interacting. The two talks of my museum career. Noah Kane- prompted audience members to reflect Smalls, MFA in Museum Exhibition on how museums will move from being Planning + Design ‘14, The University instructional to being invitational. The of the Arts. (Personal communication, Philadelphia symposium firmly restated August 5, 2014) and reinforced the idea that a broad array of audiences needs to feel welcomed Overall, these national and international by the museum. They must be invited discussions created and hosted by MS to make the museum into a place that programs are beginning to set the stage works for them rather than be asked to for a completely re-imagined field. conform to an ideal of who the museum They provide topics that reflect the new wants them to be. Groups shared ideas museum studies approaches to engage in in interactive round-table sessions and big thinking, to broaden conversations, through an evening charrette. Problem to let go of authority (even within Field-wide solving discussions continued over the classroom) and, in some cases, to conversations dinner tables in local restaurants, and apply design thinking processes to the attendee conclusions were presented in approach to teaching. MS programs about exhibitions the morning. Everyone was involved and seek to become laboratories to model offer another engaged. the participatory nature that is being called for in museums. We are pushing to opportunity Gurian’s focus on the significance break disciplinary silos and take on more for students, of “welcome” stuck with me. “The exchanges that are democratic. patrimony belongs to everyone,” she professionals, said; “therefore, everyone needs to be Challenges During a Time of Transition in your institution.” Because I believe These new approaches to rethinking the and practitioners in a real open door policy…even if field offer great opportunities for both to tackle these sometimes that means just using the museums and their employees; however, restroom, I appreciated her suggestion we recognize many challenges remain. issues—and that such visitors “haven’t come to As has been true in most economic more. ruin your place—they are humans downturns, pressure is exerted to produce and take up human space.” If it had leaner and more cost-effective museum been a ball game I would have called productions. While this may lead to out a hearty “Woo-hoo” on that more innovation and creative practice, point! April Bryan, graduate student it can affect the job market negatively, in GW’s MS Program. (Personal particularly for emerging professionals. communication, August 5, 2014) Many MS programs are frank with 15

EXHIBITIONIST FALL '14 MS programs seek to become laboratories to model the participatory nature that is being called for in museums.

(continued from page 15) students about employment realities. their classes completely on-line, while Though the museum field, like others, many others are located on campuses. has suffered cutbacks, alumni have found For an insightful overview about those References: Bedford, L. (2014). The art of opportunities to be adaptive—using teaching design, please see Teaching museum exhibitions: How story their familiarity with the contemporary Exhibition Design: A Survey of Graduate and imagination create aesthetic museum, its structures, processes, and Programs in the United States in this experiences. Walnut Creek, CA: required skills. By honing skills in issue. Left Coast Press. multiple areas, recent MS graduates are

Chan, S. A commencement speech increasingly versatile in their approach to As this issue’s articles suggest we must to exhibit designers, May 16, finding jobs. continue to push our students towards 2014. Retrieved August 5, 2014, experimentation, risk taking, creativity, from http://www.freshandnew. As part of the leadership of the AAM and innovation in their work while at the org/2014/05/commencement- professional network Committee on same grounding it in an understanding speech-exhibit-designers/ Museum Professional Training (COMPT) of what has come before. As a result, our Macalik, J. (2013). Discursive we have watched the growth in our programs aim to graduate individuals who Spaces Epilogue. Discursive own programs, as well as others. It is understand how design and exhibition Space Conference 2013. Retrieved important to note that while over 100 development processes can work, and August 5, 2014 from http://www. museum training programs exist in why they need to strive always for discursivespace.com/ American colleges and universities alone, collaboration, considering new the museum field has not yet established approaches and global issues. At their any standards or methods of ranking for core, they must seek ways to make these programs. They vary widely. For exhibitions more inviting and inclusive example, some training programs offer for potential audiences.

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EXHIBITIONIST FALL '14