Creating a Winning Online Exhibition
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Smithsonian Institution Archives (SIA)
SMITHSONIAN OPPORTUNITIES FOR RESEARCH AND STUDY 2020 Office of Fellowships and Internships Smithsonian Institution Washington, DC The Smithsonian Opportunities for Research and Study Guide Can be Found Online at http://www.smithsonianofi.com/sors-introduction/ Version 2.0 (Updated January 2020) Copyright © 2020 by Smithsonian Institution Table of Contents Table of Contents .................................................................................................................................................................................................. 1 How to Use This Book .......................................................................................................................................................................................... 1 Anacostia Community Museum (ACM) ........................................................................................................................................................ 2 Archives of American Art (AAA) ....................................................................................................................................................................... 4 Asian Pacific American Center (APAC) .......................................................................................................................................................... 6 Center for Folklife and Cultural Heritage (CFCH) ...................................................................................................................................... 7 Cooper-Hewitt, -
Museum Archivist
Newsletter of the Museum Archives Section Museum Archivist Summer 2020 Volume 30, Issue 2 Letter From the Chair Fellow MAS and SAA members, To be blunt, we are currently in the midst of a challenging period of historic proportions. On top of a charged atmosphere filled with vitriol, 2020 has witnessed the unfolding of both a global pandemic and racial tensions exacerbated by systemic racism in law enforcement. The combination of this perfect storm has sowed a climate of chaos and uncertainty. It is easy to feel demoralized and discouraged. For your own mental health, allow yourself to feel. Allow yourself to take a breath and acknowledge that you are bearing witness to a uniquely challenging period like few in global history. Yet, there is reason to hope. The trite phrase, “that which does not kill us only makes us stronger” has significance. We adapt, learn, grow and improve. If this all is to be viewed as an incredible challenge, rest assured, we will overcome it. (To use yet another timeless phrase, “this, too, shall pass.”) I am curious to see what new measures, what new policies, what new courses of action we, as professionals in the field(s) of libraries, archives, and museums (LAMs) will implement to further enhance and reinforce the primary goals of our respective professions. One question that keeps coming to mind is how the archives field—specifically as it relates to museums— will survive and adapt in the post-COVID-19 world. People will continue to turn to publicly available research material to learn and educate others. -
The Emerging Voice of the Exhibition Designer
BOYCHER, ASHLEY, M.S., The Emerging Voice of the Exhibition Designer. (2010) Directed by Dr. Patrick Lee Lucas. pp. 77. Of the little writing available today authored by exhibition designers, most consists of manual-like instructions or pretty-picture compendia, though often interesting and even inspiring, not nearly enough to represent their field as a relevant, necessary profession. Turning to data drawn from exhibition designers’ personal experiences as well as their words deeply imbedded within a widely read museum publication, in this thesis I mined and shared exhibition designers’ voices as they relate to the exhibition development process and the broader professional museum culture. Specifically, I studied the imagery and text published from 1970 through 2009 in Museum (formerly Museum News), the American Association of Museums’ journal that has covered the museum community’s trends and issues for more than eighty-five years. I also interviewed a purposeful sample of five exhibition professionals with varied backgrounds and current foci, and, thirdly, I analyzed data collected from my own participant observations as an intern in the 3-D Exhibition Design Department at the Field Museum of Natural History. Critically silenced, often neutralized and sometimes ignored in the past, my research finds that exhibition designers have emerged at the crossroads rather than the margins of exhibit development. They have evolved their field and in terms of what museums and audiences expect of them, but designers continue to struggle to have their voices and roles considered "scholarly" equal to other museum professionals. This project intends to contribute, if even in a small way, to understanding the place of exhibition design in museums of the past forty years and the fluctuating present, as well as lays groundwork for future investigations. -
The Invisible Man-Exhibition-Advisory-6.20.19.Pdf
Image captions on page 3 The Los Angeles County Museum of Art (LACMA) presents The Invisible Man and the Masque of Blackness, marking the artist Zak Ové’s first solo exhibition in Los Angeles. Ové (b. 1966) is a British visual artist of Trinidadian descent who works in sculpture, film, and photography. His 40-piece sculptural installation The Invisible Man and the Masque of Blackness features a group of identical, 6 1/2-foot-tall reproductions of an African figure that the artist received as a gift from his father in his early childhood. Ové’s figures, fabricated from resin and graphite, hold their hands up at shoulder level in an act of quiet strength and resilience, and are spaced evenly in rows to ironically recall the formation of either a group soldiers or political dissidents. The exhibition title references two milestones in black history: Ben Jonson’s 1605 play The Masque of Blackness, the first stage production to utilize blackface makeup, and Ralph Ellison’s 1952 novel Invisible Man, the first novel by an African American to win the National Book Award. In addition to literary references, the artist draws inspiration from Caribbean Carnival, a festival that originated in the Mardi Gras celebrations of the region’s French colonists, and Canboulay, a parallel celebration in which enslaved people expressed themselves through music and costume and paid homage to their African traditions. Overall, the sculpture encapsulates the complex history of racial objectification and the evolution of black subjectivity. LACMA’s presentation will be the first time The Invisible Man and the Masque of Blackness is installed at an encyclopedic institution. -
Recruitment Pack Exhibition Designer
Recruitment Pack Exhibition Designer (3D) Exhibition Designer (3D) £28,292 - £30,766 [pro rata if part time] per annum plus membership of Civil Service pension scheme Fixed term up to 30 June 2019 We are looking for a creative and enthusiastic Exhibition Designer (3D) to join our in-house Design team. National Museums supports an exciting programme of special exhibitions critical to bringing in new audiences, as well as repeat visitors. Your role will be to assist with the design, development, planning, preparation and delivery of these exhibitions, and to work with colleagues across a number of departments, and externally, to ensure that exhibitions and galleries throughout our five museums are maintained to the highest standard. You will be educated to degree standard in a relevant professional design qualification and will have proven relevant experience of design and production, preferably with some graphic design skills. You will be able to think creatively and will enjoy working to tight deadlines in a busy and fast-paced environment. You will need to demonstrate an ability to work under pressure and to operate effectively, both independently and as a team member. This is a fixed term post up to 30 June 2019. To make an online application for this post and to find further details of this post and of all our vacancies please visit www.nms.ac.uk. If you require further information telephone 0131 247 4094 (answerphone) or email [email protected], stating reference NMS18/815 Closing date for completed applications is Tuesday, 03 April 2018. It is anticipated that the selection event will take place around the middle of April 2018. -
Practicum Descriptions
Latino Museum Studies Program Practicum 1 Archives of American Art (AAA) The Latina Papers: Primary Sources for Documents of Latin American and Latino Art (In partnership with the International Center for the Arts of the Americas (ICAA)) Joshua T. Franco, Ph.D., National Collector, AAA Project Overview: With over thirty million items and counting, the Archives of American Art (AAA) is the world’s largest repository for documents related to the history of American art. In 2015, AAA hired a Latino Collections Specialist to focus on acquiring papers related to US Latino/a art. Building on AAA’s holdings resulting from past initiatives particularly in south Florida and Texas, the Latino Collections Specialist made further acquisitions from New York, Denver, Florida, the Midwest, and the West Coast including: Cheech Marin (Oral History), Paul Ramirez Jonas, Andres Serrano, Kathy Vargas, Victor Zamudio-Taylor, and Tony Ortega. AAA’s mission is to acquire primary sources—letters, diaries, journals, notes, and other unpublished writings, financial records, photographs, sketchbooks, scrapbooks, audio and video recordings, rare printed material, and the like—from artists, critics, collectors, art historians and others. As part of the International Center for the Arts of the Americas’ (ICAA) landmark Documents of Latin American and Latino Art digital archive project, The Latinx Papers seeks to identify and make accessible key documents related to the history of Latinx art as well as the trajectory of key artists and cultural figures. During this multi-year initiative, the ICAA will build upon its existing holdings with a new selection of primary documents focused on individual artists and groups as well as on critics, curators and cultural representatives. -
K11 Art Foundation and New Museum Co-Present After Us
FOR IMMEDIATE RELEASE January 17, 2017 K11 Art Foundation and New Museum co-present After us A group exhibition of Chinese and international artists exploring how the use of online personae relates to notions of being human K11 art museum, Shanghai 17 March – 31 May 2017 CHEN Zhou, Life Imitation, 2016, Video file, 1:22 min, Image courtesy of the artist The K11 Art Foundation (KAF) is pleased to present After us, their first major project in China in partnership with the New Museum, New York. Exhibition curator Lauren Cornell, New Museum Curator and Associate Director of Technology Initiatives, is supported by Chinese curator Baoyang Chen, appointed by KAF as Assistant Curator, to explore how Chinese and international artists use surrogates, proxies, and avatars to expand the notion of being human. The exhibition features an international group of artists while focusing on emerging artists from China, in line with KAF’s mission. Included in the exhibition are works in sculpture, installation, photography, performance and video as well as works engaged with augmented and virtual reality. After us looks at the original personae that artists are animating: ones that amplify current social and emotional conditions and speculate on potential future states. With the rise of artificial intelligence, the social web and gaming, the process of adopting newly invented personae is now a common part of popular culture and daily life. Stand-ins for the self, for feelings and products, and for values and beliefs have expanded our lives and sense of possibility. The title After us raises the spectre of a society that will replace our own, and yet, many of the featured artists instead layer virtual or imagined states onto the present. -
Exhibition Narrative: the Spatial Parameters by Regan Forrest
Exhibition Narrative: The Spatial Parameters by Regan Forrest Regan Forrest is a PhD Candidate he designer Fiona Romeo recently for whom the audience’s sight lines at the University of Queensland. described exhibitions as being and the sequence of scenes is (usually) She may be contacted at “more of a dance than a sequential a known quantity in the crafting of [email protected] T experience” (quoted in Cornish, 2013), narrative, the exhibition designer has far and I think she was onto something. By less control over the manner and the order If you would like to comment on depicting museum exhibitions and visitors in which displays will be encountered. this article or others in this issue, as dance partners, the metaphor captures And like coming into a movie halfway please go to the NAME page on the free flowing, patterned but not quite through and trying to pick up the threads Facebook or send us a tweet predictable interaction between the two. of character and plot, finding yourself @NAMExhibitions. Furthermore, like dancing, visiting an moving through the exhibition the exhibition is an embodied experience: we “wrong” way can be confusing. don’t passively watch an exhibition, we actively move through it, and it is only Despite these inherent difficulties, through our activity that the exhibition exhibition development is still usually experience manifests itself. Which raises guided by an idealised “storyline,” …visiting an the question: how much can the dance albeit with the tacit acceptance that this of the exhibition visit be choreographed? storyline will be an approximation—at exhibition is How much should it be? best—of the eventual visitor experience. -
Dissertation, Full Draft V. 3
Inventing Architectural Identity: The Institutional Architecture of James Renwick, Jr., 1818-95 Nicholas Dominick Genau Amherst, New York BA, University of Virginia, 2006 MA, University of Virginia, 2009 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy McIntire Department of Art University of Virginia May, 2014 i TABLE OF CONTENTS ! ABSTRACT .......................................................................................................................................................... ii ACKNOWLEDGMENTS ......................................................................................................................................................... iv LIST OF ILLUSTRATIONS .......................................................................................................................................................... v INTRODUCTION .......................................................................................................................................................... 1 CHAPTER 1! An Architectural Eclectic:!! A Survey of the Career of James Renwick, Jr. .......................................................................................................................................................... 9! CHAPTER 2! “For the Dignity of Our Ancient and Glorious Catholic Name”:!! Renwick and Archbishop Hughes!at St. Patrick’s Cathedral ....................................................................................................................................................... -
E. Rhodes and Leona B. Carpenter Foundation Conservator for Asian Art Position Summary: the Newark Museum Seeks a Full-Time Cons
E. Rhodes and Leona B. Carpenter Foundation Conservator for Asian Art Position Summary: The Newark Museum seeks a full-time conservator for a two-year minimum posting to oversee the conservation of the Museum’s Asian collections, one of the larger and finest collections of Asian art in the United States. The Conservator for Asian Art oversees the safekeeping, proper installation and conservation of all Asian works in the Newark Museum’s permanent collection (approximately 30,000 works). The conservator also assists with processing potential out-going loan requests with regard to their physical condition, potential treatment and recommendations and/or oversight of appropriate packing/crating. The successful candidate will have at a minimum a Master’s Degree and three years’ experience as a conservator, a record of successful treatments and proven ability as a manager. Working closely with the curatorial, registration and exhibitions department, s/he will have the reputation and skills to build partnerships. The individual will be able to coordinate outside contract conservators where the work required is beyond their own area of expertise. The conservator will report to the Curator for the Arts of Asia and work closely and collaboratively with the registrar, collections manager and exhibitions department as well as with colleagues throughout the Museum and its contractors. Duties and Responsibilities: • Design, oversee and implement the appropriate re-housing of selected groups of objects—particularly the Museum’s collections of Asian -
Cultural Property, Museums, and the Pacific: Reframing the Debates Haidy Geismar*
International Journal of Cultural Property (2008) 15:109–122. Printed in the USA. Copyright © 2008 International Cultural Property Society doi:10.1017/S0940739108080089 Cultural Property, Museums, and the Pacific: Reframing the Debates Haidy Geismar* The following short articles were presented at a special session of the Pacific Arts Association, held at the College Arts Association annual meeting in New York in February 2007. Entitled “Cultural Properties—Reconnecting Pacific Arts,”the panel brought together curators and anthropologists working in the Pacific, and with Pacific collections elsewhere, with the intention of presenting a series of case stud- ies evoking the discourse around cultural property that has emerged within this institutional, social, and material framework. The panel was conceived in direct response to the ways that cultural property, specifically in relation to museum col- lections, has been discussed recently in major metropolitan art museums such as the British Museum and the Metropolitan Museum of Art (the Met). This pre- vailing cultural property discourse tends to use antiquities—that most ancient, valu- able, and malleable of material culture, defined categorically by the very distancing of time that in turn becomes a primary justification for their circulation on the market or the covetous evocation of national identity—as a baseline for discus- sion of broader issues around national patrimony and ownership. Despite the attempts of many activist groups in Canada, the United States, Aus- tralia, New Zealand, and elsewhere, indigenous cultural property in this international context is generally conceived as raising a different set of problems. In these articles the authors argue that some ethical and legal perspectives raised within the domain of indigenous cultural property discourse and practice might be relevant and use- ful to more generic discussions of cultural property. -
1 | Page the EVOLUTION of 'IMMERSIVE
THE EVOLUTION OF ‘IMMERSIVE’ EXHIBTIONS AT THE V&A MUSEUM, LONDON – 2008-2021 By Victoria Broackes and Geoffrey Marsh 1. Introduction GCDN members have expressed interest in the potential of ‘immersive’ exhibitions and related ‘experiences’ as programmatic elements that can meet their ambitions for broadening the base of their audiences. Audience analysis does demonstrate that these ‘experiences’ offer the opportunity of a cost-effective option with the ability to attract larger and more diverse audiences. As a result, there is particular curiosity about whether there is a basic underlying methodology, which can, however, create varied outputs that are faithful to the character and mission of their own districts. A comprehensive study of immersive exhibitions would require a book, so, as a starting point, this review examines the experience of the Victoria & Albert Museum in London – where we and colleagues have curated a series of immersive exhibitions over the last fifteen years. It stresses this was an evolutionary journey where skills, opportunities and confidence built up over time. However, the growth of a (semi-) commercial immersive exhibition market over this period means that GCDN members may have the opportunity of short circuiting such a process by connecting to an increasing number of ‘off the peg’ products, systems and creators in the post-Covid world. Sections 2, 3 and 4 trace the evolution as it happened, not simply as a matter of record but also to illustrate the interplay of opportunities, technology, sponsorship and other factors that impacted what was produced. Those seeking a summary overview may best move directly to Section 5 onwards.