INTERNATIONAL CONFERENCE ON THE INCLUSIVE MUSEUM
AUTRY NATIONAL CENTER OF THE AMERICAN WEST LOS ANGELES, UNITED STATES
4 - 6 AUGUST 2014
ONMUSEUMS.COM
INTERNATIONAL CONFERENCE ON THE INCLUSIVE MUSEUM www.onmuseums.com
First published in 2014 in Champaign, Illinois, USA by Common Ground Publishing, LLC www.commongroundpublishing.com
© 2014 Common Ground Publishing
All rights reserved. Apart from fair dealing for the purposes of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please contact [email protected].
TABLE OF CONTENTS
Welcome Letter from Bill Cope ...... 1 Welcome Letter from Amareswar Galla ...... 2 About Common Ground ...... 3 The Inclusive Museum Knowledge Community ...... 4 The International Advisory Board for the Inclusive Museum Community ...... 7 The International Journal of the Inclusive Museum Journal and Book Series ...... 8 Submission Timeline ...... 9 International Award For Excellence...... 10 Journal Subscriptions, Hybrid Open Access, Additional Services ...... 11 The Inclusive Museum Book Imprint ...... 13 The Inclusive Museum Conference ...... 16 Conference Program and Schedule ...... 19 Daily Schedule ...... 20 Conference Highlights ...... 21 Plenary Speakers ...... 22 Graduate Scholars ...... 26 Schedule of Sessions ...... 28 List of Participants ...... 44 Scholar ...... 48 Notes ...... 50
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Dear Delegate, Welcome to the Seventh International Conference on the Inclusive Museum. The conference is a cross-disciplinary forum which brings together museum practitioners, researchers, and teachers to discuss the nature, objectives and future shape of the museum. The conference is held annually in different locations around the world, each selected for a particular relationship to an innovative museum or local museum practices.
The conversations at this conference weave between the theoretical and the empirical, research and application, institutional pragmatics and social idealism. In professional and disciplinary terms, the conference traverses a broad sweep to construct a transdisciplinary dialogue which encompasses a broad variety of perspectives and practices.
In addition to the Inclusive Museum Conference, Common Ground also hosts conferences and publishes journals in other areas of critical intellectual human concern, including aging, food studies, diversity, learning, sustainability, and the interdisciplinary social sciences, to name several. Our aim is to create new forms of knowledge community, where people meet in person and also remain connected virtually making the most of the potentials for access using digital media. We are also committed to creating a more accessible, open and reliable peer review process. Alongside opportunities for well-known academics, we are creating new publication openings for scholars from developing countries and for researchers from institutions that are historically teaching-focused. We would like to invite conference participants to develop publishing proposals for original works or for edited collections of papers drawn from the journal which address an identified theme. Finally, please join our online conversation by subscribing to our monthly email newsletter, and subscribe to our Facebook, RSS, or Twitter feeds at http://onmuseums.com/.
We are also proud to announce Scholar, created in an association between Common Ground and the University of Illinois. If the social glue that holds together Facebook is 'friends' and the stickiness of Twitter is having 'followers', then the common bond created in Scholar is 'peers' working together in knowledge producing communities. We call this a ‘social knowledge’ space. Not only can you join the Inclusive Museum community in Scholar, you can also create your own knowledge communities and use Scholar as a learning space, with a strong focus on peer-to-peer dialogue and structured feedback. For more information, visit www.cgscholar.com.
This is the longer story of the Inclusive Museum Conference. The shorter story includes a phenomenal amount of careful planning and thinking on the part of Professor Amareswar Galla of the International Institute for the Inclusive Museum; W. Richard West Jr., President and CEO of the Autry National Center of the American West; Stacy Liberman of the Autry National Center of the American West; Gloria Mejia of the Autry National Center of the American West; and Jennifer Warner of the Autry National Center of the American West. On a more personal note, many thanks to thank our Common Ground colleagues who have put so much work into this conference: Jamie Burns, Izabel Szary, and Jessica Wienhold-Brokish.
We wish you all the best for this conference, and hope it will provide you every opportunity for dialogue with colleagues from around the corner and around the world. We also hope you will be able to join us for the Eighth International Conference on the Inclusive Museum, to be held 7-9 August 2015 at the National Science Center of India, India.
Yours Sincerely,
Bill Cope Director, Common Ground Publishing Professor, Education Policy, Organization, and Leadership University of Illinois, Urbana-Champaign, USA
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Dear Delegate,
The Seventh International Conference on the Inclusive Museum is hosted by the Autry National Center of the American West in Los Angeles. The Autry’s President and CEO W. Richard (Rick) West, Jr. is also Founding Director and Director Emeritus of the National Museum of the American Indian, Smithsonian Institution, Washington, DC. Coast-to-coast throughout the Americas and the Western hemisphere, Rick’s leadership has been seminal in locating the Native universe and a multitude of other world views in the intercultural dialogue of inclusion. It is with this deep experience that he challenges us here to address the theme: Shared Visions and Shared Histories.
The Inclusive Museum knowledge community is a tireless advocate for developing the museum as a civic space for all people, irrespective of their backgrounds, legacies, and inheritances. Nobel Laureate Amartya Sen succinctly states the reality that ‘…. we all have many affiliations and associations, and each of these identities fit into the way we lead – and can continue to lead - our lives, without displacing other identities.’ (Identity and Violence: The Illusion of Destiny, 2007).
The Inclusive Museum Knowledge Community facilitates an ongoing dialogue with this aspiration throughout the year – registration is for the three days here and then for the next year on line. Participatory democracy is facilitated in the digital domain through triangulating Collections – Connectivity – Communities. Collections are embedded knowledge systems with layers of significance. Connectivity provides the means for engagement and interactivity through the affordances and possibilities in the digital domain. Stakeholder communities, in all their meanings, manifestations, cultural understandings; and the multitude of publics and audiences remain in the liminal space between the collections and connectivities – the aspirational Inclusive Museum.
The 28th General Assembly of ICOM, meeting on 17 August, 2013, in Rio de Janeiro, Brazil, resolved to ‘Evaluate the extent to which programs and ICOM activities are in accordance with the 2010 Cultural Diversity Charter of ICOM adopted in Shanghai and implement a policy of gender equality as an integral part of the strategic directions of ICOM’. The Inclusive Museum Conference is a partnership activity contributing to the professional endeavours of ICOM.
Several pathways inform the inclusive processes of the museum. Through case study analysis and facilitated dialogue participants explore in the next three days as to how museums can transform their operations and practices to meet the changing and complex needs of society in a rapidly globalizing world. What are our current museological approaches to cultural and linguistic diversity and should they be re-envisioned? What practices and strategies do we employ to be or become inclusive? What are the challenges and benefits? How can museums measure their relevance and impact using the ICOM Cultural Diversity Charter?
There are many dedicated people that have made this Conference and the knowledge community possible. We thank: The President and Director of Common Ground Publishing, Professor Bill Cope; Phillip Kalantzis-Cope, Izabel Szary, and many others at Common Ground Publishing; and Stacy Lieberman and Gloria Mejia at the Autry National Center of the American West.
Esteemed colleagues and delegates, we invite you to productive discussions to vision and re-envision the way forward for promoting the Inclusive Museum through Shared Visions and Shared Histories.
Yours sincerely,
Prof. Amareswar Galla, PhD Executive Director, International Institute for the Inclusive Email. [email protected] Museum & Chairperson, the Inclusive Museum Web. www.inclusivemuseum.org Knowledge Community
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ABOUT COMMON GROUND
Our Mission Common Ground Publishing aims to enable all people to participate in creating collaborative knowledge and to share that knowledge with the greater world. Through our academic conferences, peer-reviewed journals and books, and innovative software, we build transformative knowledge communities and provide platforms for meaningful interactions across diverse media.
Our Message Heritage knowledge systems are characterized by vertical separations—of discipline, professional association, institution, and country. Common Ground identifies some of the pivotal ideas and challenges of our time and builds knowledge communities that cut horizontally across legacy knowledge structures. Sustainability, diversity, learning, the future of the humanities, the nature of interdisciplinarity, the place of the arts in society, technology’s connections with knowledge, the changing role of the university—these are deeply important questions of our time which require interdisciplinary thinking, global conversations, and cross-institutional intellectual collaborations. Common Ground is a meeting place for these conversations, shared spaces in which differences can meet and safely connect—differences of perspective, experience, knowledge base, methodology, geographical or cultural origins, and institutional affiliation. We strive to create the places of intellectual interaction and imagination that our future deserves.
Our Media Common Ground creates and supports knowledge communities through a number of mechanisms and media. Annual conferences are held around the world to connect the global (the international delegates) with the local (academics, practitioners, and community leaders from the host community). Conference sessions include as many ways of speaking as possible to encourage each and every participant to engage, interact, and contribute. The journals and book series offer fully- refereed academic outlets for formalized knowledge, developed through innovative approaches to the processes of submission, peer review, and production. The knowledge community also maintains an online presence—through presentations on our YouTube channel, monthly email newsletters, as well as Facebook and Twitter feeds. And Common Ground’s own software, Scholar, offers a path-breaking platform for online discussions and networking, as well as for creating, reviewing, and disseminating text and multi-media works.
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THE INCLUSIVE MUSEUM KNOWLEDGE COMMUNITY
The Inclusive Museum knowledge community is dedicated to the concept of independent, peer-led groups of scholars, researchers, and practitioners working together to build bodies of academic knowledge related to topics of critical importance to society at large. Focusing on the intersection of academia and social impact, the Inclusive Museum knowledge community brings an interdisciplinary, international perspective to discussions of new developments in the field, including research, practice, policy, and teaching.
Themes Theme 1: Visitors • Visitor diversity in the inclusive museum • Defining museum stakeholders and measuring participation • The politics of heritage: national, regional, ethnic, diasporic and first nation identities • Multilingualism: accessibility for small languages and cultures • Gender and sexual orientation in the museum • Disability access in the museum • Competing cultures: high, folk, popular, techno-scientific • Public trust: re-establishing the bases of ‘authority’ • Defining the ‘education’ and ‘communications’ roles of museums • Pedagogy as presentation or dialogue: how the museum relates to its visitors • The ubiquitous museum: towards the anywhere anytime learning resource • Competing pleasures: museums against or with ‘entertainment’ and ‘edutainment’ • Cross connections: with schools, with universities • Sponsorship and philanthropy: logics and logistics • The economics of admissions • Memberships: changing roles and demographics • Voluntarism and professionalism: calibrating the mix • Government stakeholders (local, state, national, transnational): museums in politics and navigating government funding and policies
Theme 2: Collections • The changing work of the curator • Exhibition didactics: the dynamics of visitor learning • The idea of ‘heritage’: changing conceptions of what counts • Authenticity, decontextualization and recontextualization of objects-on-show • Custodianship and community assets: meanings and purposes for the museum • Representing social and cultural intangible heritage • The ‘ethnographic’ and the ‘anthropological’: framing first peoples and other ‘traditions’ • Technologies in the museum • Arts in the museum • Environment in the museum • The process of acquisition: competing demands and limited resources • Conservation, preservation: negotiating changing priorities • Artifacts: what are the objects of the museum? • Places for amateurism: barefoot repositories and the self-made museum
5 2014 Museum Conference Theme 3: Representations • Museums as knowledge makers • Museums as cultural creators • Architectonics: designing buildings and information architectures • Research and investigation in the museum • Measuring knowledge ‘outputs’ • Intellectual property: commons versus commercialism? • Knowledge management paradigms and practices • ‘Neutrality’, ‘balance’ and ‘objectivity’; or ‘narrative’ and ‘politics’? The knowledge rhetorics of the museum • Knowledge frames: modern and postmodern museums • Cross connections: with libraries, with galleries, with educational institutions, with arts centers • The digitization of everything: from collection objects to media representations • The virtual museum • Online discoverability and public access • Museums in and for the knowledge society: preserving heritage ‘born digital’ • New literacies: changing the balance of creative agency in the era of the Internet and new media • Addressing the digital divide • Digital disability access • Cataloguing, metadata, discovery and access • Internet standards, semantic publishing and the semantic web
Theme 4: 2014 Special Focus: Shared Visions and Shared Histories
Scope and Concerns Visitors No longer the universal individual citizen of our recent modern aspirations, visitors of today are recognizably diverse. The dimensions of this diversity are material (class, locale, family circumstances), corporeal (age, race, sex and sexuality, and physical and mental characteristics) and symbolic (culture, language, gender, family, affinity and persona). These are the gross demographics, the things that insist on our attention. But if we take the time to look more closely at today’s public, it is qualified by intersections and layers of identity which immediately turn the gross demographics into sometimes dangerous oversimplifications. The paradox of today’s public is that, in an era of globalization, cultures are diverging: dispositions, sensibilities, values stances, interests, orientations, affinities and networks. So how can one speak to audiences? How does participation work? How can we create meanings which are germane? ‘Inclusivity’ names a paradoxically two sided answer. One side is to recognize particularity. What and who should be represented in the museum? What is it to be comprehensive? What is canonical or definitive? To answer these questions today, we need to move beyond the divisions of high as opposed to popular culture, the techno-scientific as opposed to the everyday, the national-modern as opposed to the ethnographic- traditional. No longer can we solve the problem of difference, of ‘us’ and ‘them’, by dividing people and their objects into separate categories and separating them in spaces unto themselves. We need to anticipate the particularities of visitors. The other side of this answer requires us not just to catalogue of differences, to check them off from a list of potential points of dissonance. Perhaps we also need to create a new and paradoxical form of universality, the universality of inclusivity. How do we create a museum where the text is open, where every visitor is allowed the space to create their own meanings, where no visitor is left out? The answer in part is in to devise new …
Forms of Engagement What is the role today of the reader, the viewer, the audience, the citizen, the customer, the patron? Our recent modernity was premised on relatively passive readers, viewers and audiences; relatively compliant employees and dependent citizens; and relatively appreciative customers and patrons. To take just a few touchstones of change, the new media transform readers, viewers and audiences into users, players and characters. Workers are supposed to personify the enterprise and citizens to assume responsibility for themselves. Customers are always right—for their differences, products and services have to be customized. So too, the quirks of patrons must be patronized. The change represents an evening up of balance of agency and a blurring of roles, between the person in command and the person consenting, between producers and consumers of knowledge, and between creators and readers of culture. In museums, more than simply ‘interaction’, visitors need to place themselves in the exhibition, to belong in the space and to join the cultural dialogue. For museums, this is the basis for a new communicative frame of reference and a new pedagogics. This will be made possible at least in part through the new …
Modalities of Representation The emerging communications environment—in which image, sound and word are all made of the same digital stuff—affords new openings for museums, and new challenges. Not only are museums challenged to preserve heritage which is increasingly ‘born digital’. It is also the case today that there is no collectable object, no site-specific experience, which cannot be reproduced and made available to ‘visitors’ at the ends of the earth though digital means of representation. This creates unique challenges in the realm of intellectual property. It raises new practicalities of relating to visitors who are more diverse than ever. It
2014 Museum Conference 6 presents a new task for museum workers to explore the communicative affordances of the ‘mutiliteracies’ of digital representation. In meeting these challenges, museums are destined to reflect their changing world, and also—at times provocatively, riskily—change that world. The Museum Conference, Journal, Book Imprint and News Weblog provide a forum for the discussion of these and other fundamental questions which will surely determine the changing shape and future role of museums.
Community Membership Annual membership to the Inclusive Museum community is included in your conference registration. As a community member, you have access to a broad range of tools and resources to use in your own work: electronic access to the full journal and book collections; a full Scholar account, offering an innovative online space for collaborative learning in your classes or for broader collaborative interaction with colleagues (within a research project or across the globe); and annual conferences where you can present your work and engage in extensive interactions with others with similar interests who also bring different perspectives. And you can contribute to the development and formalization of the ideas and works of others—as a journal or book reviewer, as a conference participant, and as a contributor to the newsletters and community dialogue.
• Personal electronic subscription to the complete journal for one year after the conference (all past and current issues). • Personal electronic subscription to the book series for one year after the conference. • One article submission per year for peer review and possible publication in any of the journals in the collection. • Participation as a reviewer in the peer review process and the potential to be listed as an Associate Editor of the journal after reviewing three or more articles. • Subscription to the monthly community email newsletter, containing news and information for and from the knowledge community. • Ability to add a video presentation to the community YouTube channel, whether or not it was presented in person at the conference or is published in the journal. • Access to the Scholar "social knowledge" platform: free use of Scholar as your personal profile and publication portfolio page, as a place to interact with peers and forms communities that avoids the clutter and commercialism of other social media, with optional feeds to Facebook and Twitter. • Use Scholar in your classes—for class interactions in its Community space, multimodal student writing in its Creator space, and managing student peer review, assessment, and sharing of published students’ works in its Publisher space. Contact us to request Publisher permissions for Scholar.
Engaging in the Community Present and Participate in the Conference You have already begun your engagement in the community by attending the conference, presenting your work, and interacting face-to-face with other members. We hope this experience provides a valuable source of feedback for your current work and the possible seeds for future individual and collaborative projects, as well as the start of a conversation with community colleagues that will continue well into the future.
Publish Journal Articles or Books We encourage you to submit an article for review and possible publication in The International Journal of the Inclusive Museum. In this way, you may share the finished outcome of your presentation with other participants and members of the Inclusive Museum community. As a member of the community, you will also be invited to review others’ work and contribute to the development of the community knowledge base as an Associate Editor. As part of your active membership in the community, you also have online access to the complete works (current and previous volumes) of The International Journal of the Inclusive Museum and to the book series. We also invite you to consider submitting a proposal for the book series.
Engage through Social Media There are several methods for ongoing communication and networking with community colleagues:
• Email Newsletters: Published monthly, these contain information on the conference and publishing, along with news of interest to the community. Contribute news or links with a subject line ‘Email Newsletter Suggestion’ to [email protected]. • Scholar: Common Ground’s path-breaking platform that connects academic peers from around the world in a space that is modulated for serious discourse and the presentation of knowledge works. To learn more about Scholar, go to the back of the program. • Facebook: Comment on current news, view photos from the conference, and take advantage of special benefits for community members at: http://www.facebook.com/OnMuseums.CG. • Twitter: Follow the community: @onmuseums. • YouTube Channel: View online presentations or contribute your own at http://onmuseums.com/the-conference/types- of-conference-sessions/online-presentations.
7 2014 Museum Conference THE INTERNATIONAL ADVISORY BOARD FOR THE INCLUSIVE MUSEUM COMMUNITY
Advisory Board • Professor Corazon S. Alvina, Former Director, National Museum of the Philippines, Manila, Philippines • Alissandra Cummins, Immediate Past President of ICOM; Director, Barbados Museums and Historical Society, Barbados; Former Chairperson, Executive Board, UNESCO, Paris, France • Dr. Ann Davis, Former Director, The Nickle Arts Museum, University of Calgary, Alberta, Canada; and President, ICOM international Committee for Museology, Paris, France • Dr. Nevra Ertürk, Güzel Sanatlar Fakültesi, Sanat Eserlerinin Konservasyonu ve Restorasyonu Bölümü, Mimar Sinan Güzel Sanatlar Üniversitesi, Istanbul, Turkey • Dr. Shahid Vawda, School of Social Sciences, University of Witwatersrand, Johannesburg, South Africa. • Adi Meretui Ratunabuabua, Pacific Heritage Hub Manager, University of South Pacific; and Principal Cultural Development Officer, Department of Culture and Heritage, Ministry of Fijian Affairs, Culture and Heritage, Suva, Fiji Islands • Professor Laishun An, Deputy Director of the International Friendship Museum of China; and Secretary General of Chinese Society of Museums, Beijing, China • Mlle Christine Hemmet, Responsable de l’unité patrimoniale des collections Asie, Musée du quai Branly, Paris, France • Professor Dr Rohit Jigyasu, UNESCO Chair Professor, Research Centre for Disaster Mitigation of Urban Cultural Heritage, Ritsumeikan University, Kyoto • Professor Henry C. (Jatti) Bredekamp, Former Chief Executive Officer, Iziko Museums of Cape Town, South Africa • Dr. Lina G. Tahan, Centre for Tourism and Cultural Change, Leeds Metropolitan University, Leeds, UK • Lcda Lucía Astudillo Loor, Directora, Museo de los Metales, Cuenca, Ecuador • Professor Pascal Makambila, Conservateur en chef des musées, Brazzaville, Congo • Professor Dr. Tereza C. Moletta Scheiner, Coordinator, Postgraduate Program in Museology and Heritage, Federal University of the State of Rio de Janeiro – UNIRIO, Rio de Janeiro, Brazil, Vice President, ICOM Executive Council • Professor Dr Jørgen Wadum, Keeper of Conservation & Director of CATS, Statens Museum for Kunst/National Gallery of Denmark & Chairman of the Department of Conservation & Restoration at the Faculty of Humanities, University of Amsterdam • W. Richard ‘Rick’ West, Jr., President and CEO, Autry National Center for the American West, Los Angeles, California & Founding Director and Director Emeritus, National Museum of the American Indian, Smithsonian Institution, Washington DC
Chairperson of the Advisory Board • Professor Dr. Amareswar Galla, Executive Director, International Institute for the Inclusive Museum, Denmark & India; Former Vice President, ICOM, Paris
Assisting the Chairperson • Stacy Lieberman, Vice President, Communications and Visitor Experience, Autry National Center of the American West, Los Angeles • Jennifer Warner, Executive Assistant, Autry National Center of the American West, Los Angeles Ex Officio • Professor Dr. Hans-Martin Hinz, President of the International Council of Museums, former Deputy Director, Deutsches Historisches Museum, Berlin and Deputy Minister of Culture for Berlin, 2000-2001, Berlin, Germany • Professor Suay Aksoy, Chairperson, ICOM Advisory Committee, Istanbul, Turkey, • Diana R. Pardue, Co-Chair, ICOM USA, Chief, Museum Services Division, Statue of Liberty National Monument and Ellis Island, New York, USA • Elizabeth Duggal, Co-Chair, ICOM USA, Associate Director for Public Engagement, National Museum of Natural History, Smithsonian Institution, Washington DC, USA
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COMMON GROUND AND THE INCLUSIVE MUSEUM JOURNAL AND BOOK SERIES
About Our Publishing Approach For three decades, Common Ground Publishing has been committed to creating meeting places for people and ideas. With 24 knowledge communities, Common Ground’s vision is to provide platforms that bring together individuals of varied geographical, institutional, and cultural origins in spaces where renowned academic minds and public thought leaders can connect across fields of study. Each knowledge community organizes an annual academic conference and is associated with a peer-reviewed journal (or journal collection), a book imprint, and a social media space centered around Common Ground’s path-breaking ‘social knowledge’ space, Scholar.
Through its publishing practices, Common Ground aims to foster the highest standards in intellectual excellence. We are highly critical of the serious deficiencies in today’s academic journal system, including the legacy structures and exclusive networks that restrict the visibility of emerging scholars and researchers in developing countries, as well as the unsustainable costs and inefficiencies associated with traditional commercial publishing.
In order to combat these shortcomings, Common Ground has developed an innovative publishing model. Each of Common Ground’s knowledge communities organizes an annual academic conference. The registration fee that conference participants pay in order to attend or present at these conferences enables them to submit an article to the associated journal at no additional cost. Scholars who cannot attend the conference in-person may still participate virtually and submit to the journal by obtaining a community membership, which also allows them to upload a video presentation to the community’s YouTube channel. By using a portion of the conference registration and membership fees to underwrite the costs associated with producing and marketing the journals, Common Ground is able to keep subscription prices low, thus guaranteeing greater access to our content. All conference participants and community members are also granted a one-year complimentary electronic subscription to the journal associated with their knowledge community. This subscription provides access to both the current and past volumes of the journal. Moreover, each article that we publish is available for a $5 download fee to non- subscribers, and authors have the choice of publishing their paper open access to reach the widest possible audience and ensure the broadest access possible.
Common Ground’s rigorous peer review process also seeks to address some of the biases inherent in traditional academic publishing models. Our pool of reviewers draws on authors who have recently submitted to the journal, as well as volunteer reviewers whose CVs and academic experience have been evaluated by Common Ground’s editorial team. Reviewers are assigned to articles based on their academic interests and expertise. By enlisting volunteers and other prospective authors as peer reviewers, Common Ground avoids the drawbacks of relying on a single editor’s professional network, which can often create a small group of gatekeepers who get to decide who and what gets published. Instead, Common Ground harnesses the enthusiasm of its conference delegates and prospective journal authors to assess submissions using a criterion-referenced evaluation system that is at once more democratic and more intellectually rigorous than other models. Common Ground also recognizes the important work of peer reviewers by acknowledging them as Associate Editors of the volumes to which they contribute.
For over ten years, Common Ground has been building web-based publishing and social knowledge software where people can work closely to collaborate, create knowledge, and learn. The third and most recent iteration of this project is the innovative social knowledge environment, Scholar. Through the creation of this software, Common Ground has sought to tackle what it sees as changing technological, economic, distributional, geographic, interdisciplinary and social relations to knowledge. For more information about this change and what it means for academic publishing, refer to The Future of the Academic Journal, edited by Bill Cope and Angus Phillips (Elsevier 2009).
We hope that you will join us in creating dialogues between different perspectives, experiences, knowledge bases, and methodologies through interactions at the conference, conversations online, and as fully realized, peer-reviewed journal articles and books.
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The International Journal of the Inclusive Museum ISSN: 1835-2014
Publication Frequency Articles are published on-line first with full citations as soon as they are ready. Full issues are published four times per volume.
Acceptance Rate 21%
Circulation 186,264
Foundation Year 2003
SUBMISSION TIMELINE
You may submit your final article for publication to the journal at any time throughout the year. The submission timeline for Volume 7 is as follows:
• Submission Round 1 – 15 February, 2014 • Submission Round 2 – 15 May, 2014 • Submission Round 3 – 15 August, 2014 • Submission Round 4 (final) – 15 November, 2014
Note: If your article is submitted after the final deadline for Volume 7, it will be considered for Volume 8. However, the sooner you submit, the sooner your article will begin the peer review process. Also, as we publish ‘web first,’ early submission means that your article will be published with a full citation as soon as it is ready, even if that is before the full issue is published.
For More Information, Please Visit: http://onmuseums.com/submitting-your-work/journal-articles/submission-process
2014 Museum Conference 10 INTERNATIONAL AWARD FOR EXCELLENCE
The International Journal of the Inclusive Museum presents an annual International Award for Excellence for new research or thinking each year. All articles submitted for publication in the journal are entered into consideration for this award. The review committee for the award is selected from the International Advisory Board for the journal and the annual Museum Conference. The committee selects the winning article from the ten highest-ranked articles emerging from the review process and according to the selection criteria outlined in the reviewer guidelines.
This Year’s Award Winners Jennifer Eiserman, University of Calgary, Canada Gerald Hushlak, University of Calgary, Canada
For the Article “Keeping Interactive Art Interactive”
Abstract This paper draws on research in exhibition design and visitor studies to demonstrate that interactive exhibitions provide significantly improved visitor experiences. Interactivity allows visitors to engage with works at a basic, kinesthetic level, to “play,” “discover” and extend notions of art. They allow intergenerational groups, second language visitors and those with special abilities to engage more deeply with the works. Children respond enthusiastically to interactive installations. By physically interacting with a work, the visitor has a more immediate, intuitive relationship with it. However, this can only happen when it works. The recent Lucas Samaras installation at the Venice Biennale made its own statement when one entered the space and ALL the monitors were not working. Profs. Hushlak (artist), Boyd (remote sensing), and Jacobs (swarm theory) collaborate on interactive museum installations. Presently they are developing an interactive installation wherein performers in Montreal and Beijing communicate through dance in real time. The telematics components will be facilitated from Calgary. The difference between interactive exhibitions that work and those that do not is the way in which these exhibitions are designed, monitored, and maintained. Early in the process of computer art installation it was almost a given that exhibits involving digital technologies were vulnerable to breakdown. Museum personnel, without the specialized training necessary to maintain the installations, are usually at a loss to repair digital systems; often, local technicians are incapable of mending broken installations because they are custom designed. Hushlak, et al. recognize this issue and provide remote monitoring and adjustments of their interactive systems. Most malfunctions are repaired from a distance, ensuring that the artwork remains functioning. A series of interactive museum exhibitions will be cited that provide different models for remote exhibit monitoring and adjustment. When appropriate, remote monitoring of the audience facilitates sampling of audience engagement.
11 2014 Museum Conference JOURNAL SUBSCRIPTIONS, OPEN ACCESS, ADDITIONAL SERVICES
Institutional Subscriptions Common Ground offers print and electronic subscriptions to all of its journals, including those in The International Journal of the Inclusive Museum. Common Ground also offers subscriptions to themed journal collections and custom suites based on a given institution’s unique content needs. Subscription prices are based on a tiered scale that corresponds to the full-time enrollment (FTE) of the subscribing institution. You may download the Library Recommendation form from our website to recommend that your institution subscribe to The International Journal of the Inclusive Museum.
Personal Subscriptions As part of their conference registration, all conference participants have a one-year online subscription to The International Journal of the Inclusive Museum. This complimentary personal subscription grants access to both the current volume of the journal as well as the entire backlist. The period of complimentary access begins at the time of registration and ends one year after the close of the conference. After that time, delegates may purchase a personal subscription. To view articles, go to http://ijz.cgpublisher.com/. Select the “Login” option and provide a CGPublisher username and password. Then, select an article and download the PDF. For lost or forgotten login details, select “forgot your login” to request a new password.
For more information, please visit: http://onmuseums.com/publications/journal/subscriptions-and-orders or contact us at [email protected].
Hybrid Open Access The International Journal of the Inclusive Museum is Hybrid Open Access. Hybrid Open Access is an option increasingly offered by both university presses and well-known commercial publishers.
Hybrid Open Access means that some articles are available only to subscribers, while others are made available at no charge to anyone searching the web. Authors pay an additional fee for the open access option. They may do this because open access is a requirement of their research funding agency. Or they may do it so that non-subscribers can access their article for free.
Common Ground’s open access charge is $250 per article, a very reasonable price compared to our hybrid open access competitors and purely open access journals that are resourced with an author publication fee. Electronic papers are normally only available through individual or institutional subscriptions or for purchase at $5 per article. However, if you choose to make your article Open Access, this means that anyone on the web may download it for free.
There are still considerable benefits for paying subscribers, because they can access all articles in the journal, from both current and past volumes, without any restrictions. But making your paper available at no charge increases its visibility, accessibility, potential readership, and citation counts. Open access articles also generate higher citation counts.
For more information or to make your article Open Access, please contact us at [email protected].
Institutional Open Access Common Ground is proud to announce an exciting new model of scholarly publishing called Institutional Open Access.
Institutional Open Access allows faculty and graduate students to submit articles to Common Ground journals for unrestricted open access publication. These articles will be freely and publicly available to the whole world through our hybrid open access infrastructure. With Institutional Open Access, instead of the author paying a per-article open access fee, institutions pay a set annual fee that entitles their students and faculty to publish a given number of open access articles each year.
The rights to the articles remain with the subscribing institution. Both the author and the institution can also share the final typeset version of the article in any place they wish, including institutional repositories, personal websites, and privately or publicly accessible course materials. We support the highest Sherpa/Romeo access level—Green.
For more information on Institutional Open access or to put us in touch with your department head or funding body, please contact us at [email protected].
2014 Museum Conference 12 Editing Services Common Ground offers editing services for authors who would like to have their work professionally copyedited. These services are available to all scholarly authors, whether or not they plan to submit their edited article to a Common Ground journal.
Authors may request editing services prior to the initial submission of their article or after the review process. In some cases, reviewers may recommend that an article be edited as a condition of publication. The services offered below can help authors during the revision stage, before the final submission of their article.
What We Do • Correct spelling, grammatical, and punctuation errors in your paper, abstract and author bionote. • Revise for clarity, readability, logic, awkward word choice, and phrasing. • Check for typos and formatting inconsistencies. • Confirm proper use of The Chicago Manual of Style. The Editing Process • Email us at [email protected] to express your interest in having your article edited. • The charge for the editorial service charge is USD $0.05 per word. • Within 14-21 business days of your confirmed payment, you will receive an edited copy of your edited article via email. We can also upload the edited copy for you, and any pending submission deadlines will be altered to accommodate your editing timeline. Contact us at [email protected] to request a quote or for further information about our services.
Citation Services Common Ground requires the use of the sixteenth edition of the Chicago Manual of Style for all submitted journal articles. We are pleased to offer a conversion service for authors who used a different scholarly referencing system. For a modest fee, we will convert your citations to follow the Chicago Manual of Style guidelines.
What We Do • Change references—internal citations and end-of-article references—to confirm proper use of the sixteenth edition of The Chicago Manual of Style, using either the author-date or notes and bibliography format of The Chicago Manual of Style. • Check for typos and formatting inconsistencies within the citations. The Conversion Process • Email us at [email protected] to express your interest in having your references converted. • For articles under 5,000 words (excluding titles, subtitles, and the abstract), the charge for reference conversion is $50. If your article is more than 5,000 words, please contact us for a quote. • Within 14-21 business days of your confirmed payment, you will receive a copy of your article with the revised references. We can also upload the revised copy for you, and any pending submission deadlines will be altered to accommodate the conversion timeline. Contact us at [email protected] to request a quote or for further information about our services.
Translation Services Common Ground is pleased to offer translation services for authors who would like to have their work translated into or from Spanish or Portuguese. Papers that have undergone peer review and been accepted for publication by one of Common Ground’s journals are eligible for this translation service. Papers can be translated from Spanish or Portuguese into English and published in one of Common Ground's English-language journals. Or they may be translated from English into either Spanish or Portuguese and be published in one of Common Ground's Spanish and Portuguese-language academic journals. In this way we offer authors the possibility of reaching a much wider audience beyond their native language, affirming Common Ground's commitment towards full internationality, multiculturalism, and multilingualism.
The Process • Contact [email protected] to express your interest in having your article translated. • Our editorial team will review your article and provide you with a quote based on the paper’s word count. • Once you accept the quote, a translator will be assigned to your article. • Within 14-21 business days of your confirmed payment, you will receive a draft of your translated article. You will have a chance to communicate with the translator via the draft using Word’s “track changes” function. Based on that communication, the translator will supply you with a final copy of your translated article. 13 2014 Museum Conference
THE INCLUSIVE MUSEUM BOOK IMPRINT
Common Ground is setting new standards of rigorous academic knowledge creation and scholarly publication. Unlike other publishers, we’re not interested in the size of potential markets or competition from other books. We’re only interested in the intellectual quality of the work. If your book is a brilliant contribution to a specialist area of knowledge that only serves a small intellectual community, we still want to publish it. If it is expansive and has a broad appeal, we want to publish it too, but only if it is of the highest intellectual quality.
We welcome proposals or completed manuscript submissions of:
• Individually and jointly authored books • Edited collections addressing a clear, intellectually challenging theme • Collections of articles published in our journals • Out-of-copyright books, including important books that have gone out of print and classics with new introductions Book Proposal Guidelines Books should be between 30,000 and 150,000 words in length. They are published simultaneously in print and electronic formats and are available through Amazon and as Kindle editions. To publish a book, please send us a proposal including:
• Title • Author(s)/editor(s) • Draft back-cover blurb • Author bio note(s) • Table of contents • Intended audience and significance of contribution • Sample chapters or complete manuscript • Manuscript submission date Proposals can be submitted by email to [email protected]. Please note the book imprint to which you are submitting in the subject line.
Call for Book Reviewers Common Ground Publishing is seeking distinguished peer reviewers to evaluate book manuscripts submitted to The Inclusive Museum Book Imprint.
As part of our commitment to intellectual excellence and a rigorous review process, Common Ground sends book manuscripts that have received initial editorial approval to peer reviewers to further evaluate and provide constructive feedback. The comments and guidance that these reviewers supply is invaluable to our authors and an essential part of the publication process.
Common Ground recognizes the important role of reviewers by acknowledging book reviewers as members of the The Inclusive Museum Book Imprint Editorial Review Board for a period of at least one year. The list of members of the Editorial Review Board will be posted on our website.
If you would like to review book manuscripts, please send an email to [email protected] with:
• A brief description of your professional credentials • A list of your areas of interest and expertise • A copy of your CV with current contact details If we feel that you are qualified and we require refereeing for manuscripts within your purview, we will contact you.
2014 Museum Conference 14 THE INCLUSIVE MUSEUM BOOK SERIES
These and other books are available at http://onmuseums.cgpublisher.com/.
The Museum for the People
Sharon A. Pittman
The Museum for the People traces the Oakland Museum of California (OMCA) roots back to its pre-sixties origins, i.e. the period when its surrounding neighborhoods transitioned from predominantly white to increasingly African American. Three cultural institutions that were founded in the early 1900s merged, relocating to the current site during the sixties, and were met by protests before actually opening the doors of what is now OMCA. This work describes an institution that has remained viable by reaching out to “the people” during various critical times throughout its history.
Museums in Human Development: The Place of Museums in a Globalised and Transforming World
Conrad Gershevitch
Museums in Human Development is a sweeping review of global trends and risks, a summary of approaches to understanding these trends, a study of civil society and those UN systems that incorporate heritage, sustainability, human rights, and distributive and cultural equity. It argues that cultural institutions, in particular museums, can provide the vectors of positive, transformative change for a world in crisis. New museology as a principle and the ecomuseum as a site share much in common with other inter-disciplinary approaches, such as urban planning and health promotion, which are approaches that respond to human necessities and the human condition in fair, consensual, flexible, sustainable, and creative ways.
Plantation to Nation: Caribbean Museums and National Identity
Alissandra Cummins, Kevin Farmer, and Roslyn Russell (eds.)
Plantation to Nation: Caribbean Museums and National Identity explores the evolution of Caribbean museums from colonial-era institutions that supported imperialistic goals to today's museums that aim to recover submerged or marginalized histories, assert national identities and celebrate cultural diversity. This book is the first to focus on the growth and development of Caribbean museums and museology, to address museums across the region regardless of nation or language, and to allow for much-needed discourse on their evolution. Museologists from across the region and internationally address the challenges faced by museums in the Caribbean, both historically and in the contemporary setting.
15 2014 Museum Conference
Recent Books Published by Common Ground These and other books are available at http://theuniversitypressbooks.cgpublisher.com/.
Mobilized Identities: Mediated Subjectivity and Cultural Crisis in the Neoliberal Era
Cameron McCarthy, Alicia Kozma, Karla Palma-Millanao, Margaret Fitzpatrick, and Nicole Lamers (eds.)
This work attempts to capture a glimpse of how modern individuals face and negotiate the crisis of global capitalism, as well as the formation of identity in the realm of media, education, and culture in a highly dense, networked world. We are living in times within which even the existence of a solidity that “melts into air” is questioned, and where individuals are forced into a type of identity-survival mode that requires the complex and simultaneous negotiations of time, space, nation, and self simply to remain intact.
The Social Mind: Language, Ideology, and Social Practices
James Paul Gee
First published in 1990, The Social Mind, was meant to show that there was no conflict between sociocultural views of language, learning, and thinking and new psychological views of the mind/brain. Neural network approaches to the mind argue that the mind is furnished by an unbelievably large network of neural associations. These associations are based on our lived experiences, which are different for all of us. It is our social and cultural affiliations that shape and mentor our experiences so that we can share, collaborate, and communicate in terms of a social mind that we all partially share and nonetheless also contribute to in unique ways. The book still stands as a leading statement of how work on situated and embodied cognition leads us to, and contributes to, sociocultural theories of language and learning.
2014 Museum Conference 16
THE INCLUSIVE MUSEUM CONFERENCE
Conference Principles and Features The structure of the conference is based on four core principles that pervade all aspects of the knowledge community:
International This conference travels around the world to provide opportunities for delegates to see and experience different countries and locations. But more importantly, the Inclusive Museum conference offers a tangible and meaningful opportunity to engage with scholars from a diversity of cultures and perspectives. This year, delegates from twenty-five countries are in attendance, offering a unique and unparalleled opportunity to engage directly with colleagues from all corners of the globe.
Interdisciplinary Unlike association conferences attended by delegates with similar backgrounds and specialties, this conference brings together researchers, practitioners, and scholars from a wide range of disciplines who have a shared interest in the themes and concerns of this community. As a result, topics are broached from a variety of perspectives, interdisciplinary methods are applauded, and mutual respect and collaboration are encouraged.
Inclusive Anyone whose scholarly work is sound and relevant is welcome to participate in this community and conference, regardless of discipline, culture, institution, or career path. Whether an emeritus professor, graduate student, researcher, teacher, policymaker, practitioner, or administrator, your work and your voice can contribute to the collective body of knowledge that is created and shared by this community.
Interactive To take full advantage of the rich diversity of cultures, backgrounds, and perspectives represented at the conference, there must be ample opportunities to speak, listen, engage, and interact. A variety of session formats, from more to less structured, are offered throughout the conference to provide these opportunities.
Session Descriptions Plenary Sessions Plenary speakers, chosen from among the world’s leading thinkers, offer formal presentations on topics of broad interest to the community and conference delegation. One or more speakers are scheduled into a plenary session, most often the first session of the day. As a general rule, there are no questions or discussion during these sessions. Instead, plenary speakers answer questions and participate in informal, extended discussions during their Garden Sessions.
Garden Sessions Garden Sessions are informal, unstructured sessions that allow delegates a chance to meet plenary speakers and talk with them at length about the issues arising from their presentation. When the venue and weather allow, we try to arrange for a circle of chairs to be placed outdoors.
Talking Circles Held on the first day of the conference, Talking Circles offer an early opportunity to meet other delegates with similar interests and concerns. Delegates self-select into groups based on broad thematic areas and then engage in extended discussion about the issues and concerns they feel are of utmost importance to that segment of the community. Questions like “Who are we?”, ”What is our common ground?”, “What are the current challenges facing society in this area?”, “What challenges do we face in constructing knowledge and effecting meaningful change in this area?” may guide the conversation. When possible, a second Talking Circle is held on the final day of the conference, for the original group to reconvene and discuss changes in their perspectives and understandings as a result of the conference experience. Reports from the Talking Circles provide a framework for the delegates’ final discussions during the Closing Session.
17 2014 Museum Conference Paper Presentations Paper presentations are grouped by general themes or topics into sessions comprised of three or four presentations followed by group discussion. Each presenter in the session makes a formal twenty-minute presentation of their work; Q&A and group discussion follow after all have presented. Session Chairs introduce the speakers, keep time on the presentations, and facilitate the discussion. Each presenter's formal, written paper will be available to participants if accepted to the journal.
Colloquium Colloquium sessions are organized by a group of colleagues who wish to present various dimensions of a project or perspectives on an issue. Four or five short formal presentations are followed by commentary and/or group discussion. A single article or multiple articles may be submitted to the journal based on the content of a colloquium session.
Workshop/Interactive Session Workshop sessions involve extensive interaction between presenters and participants around an idea or hands-on experience of a practice. These sessions may also take the form of a crafted panel, staged conversation, dialogue or debate – all involving substantial interaction with the audience. A single article (jointly authored, if appropriate) may be submitted to the journal based on a workshop session.
Focused Discussion Session For work that is best discussed or debated, rather than reported on through a formal presentation, these sessions provide a forum for an extended “roundtable” conversation between an author and a small group of interested colleagues. Several such discussions occur simultaneously in a specified area, with each author’s table designated by a number corresponding to the title and topic listed in the program schedule. Summaries of the author’s key ideas, or points of discussion, are used to stimulate and guide the discourse. A single article, based on the scholarly work and informed by the focused discussion as appropriate, may be submitted to the journal.
Poster Sessions Poster sessions present preliminary results of works in progress or projects that lend themselves to visual displays and representations. These sessions allow for engagement in informal discussions about the work with interested delegates throughout the session.
Article Submissions If unable to attend the conference in person, an author may choose to submit an article presentation. Opportunities and formats vary but may be a presentation through our YouTube channel or an online discussion with interested delegates at the conference. Abstracts of these presentations are included in the online “session descriptions,” and an article may be submitted to the journal for peer review and possible publication, according to the same standards and criteria as all other journal submissions.
2014 Museum Conference 18
19 2014 Museum Conference
CONFERENCE PROGRAM AND SCHEDULE
2014 Museum Conference 20 DAILY SCHEDULE
Monday, 4 August
08:00 Conference Registration Desk Open
Conference Opening—W. Richard West, Jr, Autry National Center of the American West, USA; Amareswar 09:00–09:30 Galla, Institute for the Inclusive Museum, Denmark and India; An Laishun, ICOM, China
09:30–10:00 Plenary Session—Nina Simon, Santa Cruz Museum of Art and History, USA
10:00–10:30 Plenary Session—Richard Kurin, Under Secretary for History, Art, and Culture, Smithsonian Institution, USA
10:30–11:00 Break and Garden Session
11:00–11:45 Talking Circles
11:45–12:30 Lunch (Located in Heritage Court)
12:30–13:15 Parallel Sessions
13:15–13:30 Break
13:30–15:10 Parallel Sessions
15:10–15:20 Break
15:20-17:00 Parallel Sessions
17:00–18:30 Welcome Reception and Book Launch for The Museum for the People
Tuesday, 5 August: Museum Day: Open to all registered delegates however, separate registration is required. Please see the Registration Desk for available options. 08:00 Buses leave from the Conference Hotel (Hilton Los Angles/Glendale) for Exposition Park
09:00–10:15 Opening Day California African American Museum Tour
10:15 Break to Respective Workshop or to visit Museums
16:30 Buses leaves Exposition Park for the Conference Hotel
17:15 Arrive back at the Conference Hotel (Hilton Los Angles/Glendale)
Wednesday, 6 August 08:00 Conference Registration Desk Open
09:00–09:30 Plenary Session—Liebe Geft, Museum of Tolerance, Los Angeles, USA
09:30–10:00 Plenary Session—Charmaine Jefferson, President, Kélan Resources, Los Angeles, USA
10:00–10:30 Break and Garden Session
10:30–12:10 Parallel Sessions
12:10–12:55 Lunch (Located in Heritage Court)
12:55–14:35 Parallel Sessions
14:35–14:45 Break
14:45–16:25 Parallel Sessions
16:30–17:00 Closing Session (Located in the Plenary Theather)
21 2014 Museum Conference CONFERENCE HIGHLIGHTS
Featured Sessions Publishing Your Article or Book with Common Ground Monday, 4 August—12:30-13:15, Theater Jamie Burns, Managing Editor, Common Ground Publishing Overview: In this session a representative from CG Publishing will present and discuss The International Journal of the Inclusive Museum and The Inclusive Museum Book Series. She will present an overview of Common Ground’s publishing philosophy and practices. She will also offer tips for turning conference papers into journal articles, present an overview of journal publishing procedures, introduce The Inclusive Museum Book Series, and provide information on Common Ground’s book proposal submission process. Please feel free to bring questions—the second half of the session will be devoted to Q & A.
Special Events Reception & Book Launch Monday, 4 August—17:00-18:30 On Monday 4 August the Autry National Center of the American West, the Inclusive Museum Conference, and Common Ground Publishing will be holding a welcome reception at the end of the conference day at the venue. Converse with your fellow delegate over drinks and light hor d'oeuvres. Delegates will also have the ability to enjoy some of the exhibits of the Autry National Center of the American West.
Book Launch Monday, 4 August—17:00-18:30 During the conference reception, Common Ground Publishing will be launching, The Museum for the People by Sharon A. Pittman.
The Museum for the People The Museum for the People traces the Oakland Museum of California (OMCA) roots back to its pre-sixties origins, i.e. the period when its surrounding neighborhoods transitioned from predominantly white to increasingly African American. Three cultural institutions that were founded in the early 1900s merged, relocating to the current site during the sixties, and were met by protests before actually opening the doors of what is now OMCA. This work describes an institution that has remained viable by reaching out to “the people” during various critical times throughout its history.
2014 Museum Conference 22 PLENARY SPEAKERS
Amareswar Galla Chairperson, Inclusive Museum Knowledge Community
A champion of cultural democracy, UN Millennium Development Goals and safeguarding all forms of heritage, He is an alumnus of the Jawaharlal Nehru University, New Delhi. He is the founding Executive Director of the International Institute for the Inclusive Museum, Copenhagen and Hyderabad. His latest book World Heritage: Benefits Beyond Borders, Cambridge University Press & UNESCO Publishing, 2012, is the flagship project of the 40th Anniversary of the 1972 UNESCO World Heritage Convention. He is currently working on the establishment of the international centre of excellence in Inclusive Museum Studies at the University of Copenhagen. He was Professor of Museum Studies, University of Queensland, Brisbane and Professor and Director of Sustainable Heritage Development Programs, Australian National University, Canberra. During 1994 - 1999 he was the International Technical Adviser for the transformation of Arts Councils, National Museums and the National Parks Board (now SAN Parks) in post- apartheid South Africa. He was an expert adviser to the UN World Commission for Culture and Development. He worked on the implementation of Museums and Cultural Diversity Promotion at the National Museum of Ethnology, Leiden, Netherlands. His work, listed as best practice in the 2009 World Culture Report by UNESCO, includes the establishment of World Heritage Areas as culture in poverty alleviation projects in Ha Long Bay and Hoi An, Vietnam and Darjeeling Himalayan Railway, India. He has been honoured internationally on several occasions including Outstanding Conservationist of the Year Award by the Vietnamese government in 2002 and the European Best in Heritage Award in 2008. ICOM Australia conferred the 2012 Individual achievement award for excellence for Amar's extensive and on-going commitment to museums, sustainable development and poverty alleviation through culture: http://icom.org.au/site/activitiesiaair2012.php. He spends half his time building community grounded museums with his graduate students in low economic indicator countries. His enduring commitment to inclusive heritage development informs his community engagement, professional achievements and keynote addresses worldwide. As the 2nd and 3rd Editor-in-Chief of the International Journal of Intangible Heritage he provided seminal leadership for firmly establishing the journal as a quality assured scholarly journal that is inclusive and representative with emphasis on cultural and linguistic diversity of the world. Liebe Geft Liebe Geft is the Director of the Museum of Tolerance, which is the educational arm of the Simon Wiesenthal Center, an internationally renowned human rights organization dedicated to educating about the Holocaust, confronting anti-Semitism and bigotry, and promoting tolerance and human dignity for all. Since 1998, she has successfully integrated the Museum’s educational and outreach divisions, including Youth Education, Professional Training, Arts and Lectures, Exhibitions and Special Events. She also contributes to the ongoing development of new exhibits, films and programs that have established the Los Angeles Museum of Tolerance as the preeminent Holocaust educational institution in the Western United States of America and placed it in the vanguard of the changing role of museums as agents of social change. She developed Tools for Tolerance® for Professionals and over the past sixteen years has organized action-oriented, outcomes-based programs on issues related to the Holocaust and anti-Semitism, tolerance, diversity, cultural competence, social responsibility, intergroup conflict, hate crimes, and ethical decision making for over 190,000 front line professionals including law enforcement and criminal justice personnel, educators, social and health care providers, attorneys, city employees and corporate groups. Under her leadership the Museum of Tolerance was awarded the International Peace and Tolerance award at the United Nations for exemplary leadership in the cause of Human Rights and for encouraging people everywhere “to practice Tolerance and live together in Peace with one another as good neighbours.” The Museum of Tolerance’s S.H.A.D.E.S. program in partnership with the Los Angeles Superior Court has won numerous awards as an innovative model for juvenile justice. She has built a career in communications and education on four continents while acquiring baccalaureate and post-graduate qualifications in Linguistics, ESL and Broadcast Journalism. During her decade-long tenure as a principal News Anchor at the national television network, Financial News Network, she provided daily live coverage of the world of business and finance and global economics. She also hosted a daily call-in program, SHOP TALK, answering viewer calls on the Stock and Commodities Markets. She has also been a senior editor and host of educational radio and television programs. As a wife and the proud mother of five sons and six grandchildren, Liebe has invested much time and energy in pursuit of excellence in education, supporting innovation and growth in schools. She participated in a seminar series on the future of education conducted by the Rand Corporation, chaired a committee on "Education and Curriculum" and has served on the Board of Directors of four local schools. She is heavily involved in community organizations and charitable institutions. She has written, directed and produced several community-wide programs and ceremonies. She is a frequent speaker at national and international seminars and conventions and regularly moderates public debates on pressing social issues. As a member of the United States Department of State Speakers Bureau, Liebe has been sent on missions to Poland and Ukraine. She travelled to Halabja, Iraq to research and curate an exhibit which opened at the United Nations on the fatal gassing of the Kurds by Saddam Hussein. She has also consulted on the development of museums of conscience in Africa, South America, Mexico, the Middle East, the United Kingdom, Canada, Australia, and throughout the United States.
23 2014 Museum Conference Charmaine Jefferson Charmaine Jefferson is the president of Kélan Resources, a consulting firm focused on melding the arts, history, culture, business and diversity into the DNA of expanding education, community and non-profit philanthropy and collaboration. She has always been a strong leader and advocate for the arts. She holds a BA in Dance from UCLA, an MA in Dance Education from NYU, and a JD from Georgetown University Law Center. Following an eight year career as a professional concert dancer, she moved into arts administration for six years as Senior Dance Program Specialist with the National Endowment for the Arts. Licensed in Washington, DC and Florida, she went on to practice civil litigation in the Florida law firm of Holland and Knight but was lured back to the arts when asked to serve as Executive Director of Dance Theatre of Harlem. She was subsequently appointed by the Mayor to serve as Deputy and twice Acting Commissioner of Cultural Affairs for the City of New York. Eventually, she returned to her native Los Angeles as Vice President of Business Affairs for dePasse Entertainment and later joined the Disneyland Resort as Director of Show Development for Disney Entertainment Productions. She serves as a gubernatorial appointee on the California Arts Council; mayoral appointee to the Los Angeles Cultural Affairs Commission; as a Board Director for Arts for LA; and as a Board Trustee for the California Institute of the Arts. Some of her most recent public service commitments include four years on former First Lady Maria Shriver's Minerva Award Selection Committee; Co-Mentor to the inaugural 2010-2011 class of Los Angeles City Fellows for former Deputy Mayor Austin Beutner's Office of Economic and Business Policy; and on the site preservation and public art selection committee for the Robert F. Kennedy Community Schools Complex. Over the years she has received numerous awards and recognitions. Some include the International Association of Blacks in Dance (2011); KCET and Union Bank's Black History Month Local Hero (2011); the Integrity Award from the Los Angeles Women's Theatre Festival; Black Business Association of Los Angeles Special Recognition Award (2012); Spirit of Excellence Award from Los Angeles Trade Tech College (2012); and PBS SoCal Black History Month Community Hero (2014). She is the president of Kélan Resources, a consulting firm focused on melding art, history, culture, business and diversity into the DNA of expanding education, community and non-profit philanthropy and collaboration. She recently concluded eleven years of service as Executive Director of the California African American Museum (CAAM), a Los Angeles-based state museum in Exposition Park dedicated to collecting, preserving, promoting, and presenting for public enrichment, the art, history and culture of African Americans. She also served simultaneously as the Executive Vice President of CAAM’s non-profit partner Friends, and during her tenure, CAAM’s exhibitions and membership roster doubled; public and education programs, facility rentals and attendance tripled; and engagement in mentoring generations, cross-cultural and business collaborations resulted in more socially relevant and life-impacting offerings for youth, families and communities. Dr. Richard Kurin Under Secretary for History, Art, and Culture, Smithsonian Institution
Dr. Richard Kurin travelled to India in 1970, studying a Punjabi village and collecting artefacts for the American Museum of Natural History. He specialised in anthropology and the study of South Asia, with a PhD from the University of Chicago in 1981 for a dissertation entitled Person, Family and Kin in Two Pakistani Communities. He has since taught anthropology and related disciplines at several universities in the USA, Pakistan, and Australia. His distinguished career includes, among many leadership achievements, Directorship of the Smithsonian Center for Folklife and Cultural Heritage; founding the Smithsonian Folkways which won more than a dozen Grammy winning and nominated albums; production of many of the Smithsonian’s major public programs on the National Mall, such as the Smithsonian’s Birthday Party in 1996, the National World War II Reunion for the opening of the National World War II Memorial, and the opening of the National Museum of the American Indian. He produced public programs for Presidential Inaugurals in 1993, 1997, 2005, 2009, and 2013. He worked with the Atlanta Committee for the Olympic Games to produce a cultural festival in Centennial Park during the games in 1996, and with the White House to produce public programs for the celebration of the Millennium at the end of 1999. He was awarded the Smithsonian Secretary's Gold Medal for Exceptional Service in 1996. He is the Smithsonian’s permanent Under Secretary for History, Art and Culture, responsible for oversight of Smithsonian’s Museums and Programs, Libraries, Archives, Fellowships, Collections and International Programs with the Under Secretary for Science. In 2010, he founded and organized the Haiti Cultural Recovery Project with the President’s Committee for the Arts and the Humanities and other cultural organizations to help save that nation’s heritage after the devastating earthquake. His outstanding publication record includes his latest book entitled The Smithsonian's History of America in 101 Objects, Penguin, 2013.
2014 Museum Conference 24 Prof. Dr. AN Laishun Professor Dr. An Laishun is the Vice-President and Secretary General, Chinese Museums Association (since 2010); Vice-Chair of ICOM China (since 2010); and Deputy Director, New Cultural Movement Museum of Beijing, Beijing (since 2012). He is a member of the Executive Council of ICOM (since 2010). Executive Editor-in-Chief, Chinese Museum Magazine, Beijing (since 2003); Deputy Secretary General, Chinese Society of Museums, Beijing (2002-2008); guest professor in heritage/museology studies in three Chinese Universities: Fudan University; Shanghai (since 2012); Zhejiang University, Hangzhou (since 2011); and Central University for Nationalities of China, Beijing (since 2003). Deputy Director, International Friendship Museum of China, Beijing (2007-2012); Director, Department of Planning & Development, China Agricultural Museum, Beijing (2002-2007); Coordinator, Project Coordinator Ecomuseums in Guizhou Province, Guizhou (1996-2002). Professor An has a PhD in Chinese History and Masters Degree of the Arts in Museology. He has been a prominent thinker and innovator in the use of ecomuseology for safeguarding the heritage of indigenous peoples and ethnic minority groups in China and Asia. He was the Chief Coordinator of the Organizing Committee for ICOM XXII General Conference and XXV General Assembly, 7-12 November 2010 Shanghai; and it was here that the ICOM Cultural Diversity Charter was adopted and ICOM resolved to support the Inclusive Museum knowledge community. Nina Simon Nina Simon has been described as a “museum visionary” by Smithsonian Magazine for her audience-centered approach to design. She is currently the Executive Director of the Santa Cruz Museum of Art and History, where she led an institutional turnaround based on grassroots community participation. Nina is the author of The Participatory Museum (2010) and the popular Museum 2.0 blog. Previously, she worked as an independent consultant and exhibition designer with over one hundred museums and cultural centers around the world. She began her museum career as Experience Development Specialist at the International Spy Museum in Washington, D.C. W. Richard West, Jr. President and CEO, Autry National Center of the American West, Los Angeles, California
W. Richard West, Jr. assumed leadership of the Autry National Center of the American West in December 2012 to facilitate the next phase of the institution’s development as a museum dedicated to sharing the diverse stories, experiences, and cultures of the people of the American West. He was the founding director of the Smithsonian’s National Museum of the American Indian (NMAI), where he guided the successful opening of the three facilities that comprise the NMAI: he oversaw the creation of the George Gustav Heye Center (New York, 1994); supervised planning for the Cultural Resources Center (Suitland, MD, 1999), housing 800,000 objects; and provided critical vision for the Mall museum (Washington, D.C., 2004). He most recently served as the interim director of the Textile Museum in Washington, D.C. Before his museum career, West practiced law at the Indian- owned Albuquerque, New Mexico law firm of Gover, Stetson, Williams & West, P.C. and was an associate attorney, then partner in the Washington, D.C., office of Fried, Frank, Harris, Shriver & Jacobson. He was counsel to American Indian tribes, communities, and organizations, representing clients before federal, state, and tribal courts, federal agencies, and the Congress. He holds a bachelor’s degree in American history magna cum laude from the University of Redlands, a master’s degree in American history from Harvard University, and a Juris Doctor degree from Stanford University, where he served as an editor and note editor of the Stanford Law Review. West is a citizen of the Cheyenne and Arapaho Nation of Oklahoma and a Peace Chief of the Southern Cheyenne. 25 2014 Museum Conference 2014 SUPPORTERS
The 2014 Inclusive Museum Conference would like to acknowledge and extend a special thank you to the following supporters of the Inclusive Museum Conference.
Elizabeth Duggal Elizabeth Duggal, President of ICOM USA, serves as the Associate Director for Public. Engagement of the Smithsonian’s National Museum of Natural History and as the Director of the Smithsonian Institution’s International Museum Professional Education Program. As an Associate Director, she leads public engagement for the National Museum of Natural History. An internationally renowned institution, the Museum welcomes over seven million visitors annually, is caretaker of the world’s most extensive natural history collections, and home to an extraordinary network of scientists who preserve and study the record of life on Earth. Through her strategic leadership, she ensures that the functions and activities that form the public face of the Museum reach and engage large, diverse audiences through outstanding learning experiences, both onsite and digitally. With a staff of 90 and multiple contractors, she directs planning and development of all museum exhibitions, educational programs, public affairs, marketing, visitor services and digital media and manages multi-million dollar budgets. she has been deeply involved in fundraising and her efforts have led to tens of millions of dollars in gifts to the Museum. She is also the Museum’s primary liaison with the business enterprises branch of the Smithsonian. Additionally, she serves as Director of the Smithsonian Institution’s International Museum Professional Education Program. Through innovative partnerships, the program makes the Smithsonian’s unparalleled expertise and resources available to organizations in the U.S. and around the world. she has spearheaded breakthrough partnerships in the Middle East, Asia, and Latin America. In her former position as the Associate Director for Museum Resources at the Smithsonian’s National Museum of the American Indian, she was responsible for the museum’s planning, management and coordination of financial and human resources. She was the Museum’s liaison to the George Gustav Heye Center’s Board of Directors in New York City and the National Council in Washington, D.C. She also led fundraising and external affairs and the celebrations and programs for the Museum’s historic opening.
Diana Pardue Diana Pardue is responsible for the museum programs at the Statue of Liberty National Monument and Ellis Island. Her responsibilities include oversight of the museum program (collection management, exhibits/media, research library, oral history collection) and management of cultural resources (architecture, archaeology, cultural landscapes, ethnography). She began working for the National Park Service in the Chief Historian’s office, Washington D.C. Before transferring to the Statue of Liberty NM, she worked for the Chief Curator, producing Collection Management Plans for over 75 National Park Service sites and managing the Conserve O Gram technical information series. She moved to New York in 1985 to work on the restoration and museum development at the Statue of Liberty and Ellis Island. The restored Statue of Liberty opened to the public in July 1986 and the Ellis Island Immigration Museum opened in September 1990. Her degrees are in European History from Centre College and the University of Kentucky. She received her museum training through the National Park Service, the Smithsonian Institution, International Center for Conservation at Rome (ICCROM) and University of London. She is an active member of the American Association of Museums (AAM) and the International Council of Museums (ICOM). Currently she is on the Executive Council of ICOM. She served as Co-Chair of ICOM-US and is the past President of the International Committee of Architecture and Museum Techniques (ICAMT), ICOM. She has been involved internationally with the development of new migration museums, migration exhibits and associated programs. She is a member of International Immigration Sites of Conscience and active in the planning and development of public dialogue programs on immigration with local universities and international site members.
2014 Museum Conference 26
GRADUATE SCHOLARS
Elana Bernnard Elana Bernnard recently graduated with an MA in Exhibition and Museum Studies, as the recipient of the Graduate Fellowship, from the San Francisco Art Institute, San Francisco, CA. During her graduate studies, she co-organized the 2014 Northern California Performance Platform and served as the Curator of Performance and Video for the event, En((GENDER))ing Performance: a Call and Response, both in San Francisco, CA. She received a BA in Art History and a BFA in Painting and Drawing, with the Alex Martin Memorial Scholarship, from the State University of New York in 2012. She has written numerous articles on the processes of mediation through artworks and the museum setting, such as: “Exhibiting Control/Processing Interpretation,” Colloquy: An Exchange Project, Issue One, San Francisco, CA: No Reservations Art Publication, 2013. And co- authored in the collaboration with R. Clow and J. van Staveren: “On Image, Aura, and the Spectacle: Reprojecting Mediation,” Reprojecting Mediation Exhibition Catalogue, University at Albany in 2014. Currently, she is the editor, writer, and co-founder of the critical theory blog, http://subversiveintellectuals.wordpress.com/. Her most recent projects and interests are on interrogating the fetishistic, factitious, and figuration emergence in the pedagogical functioning of museums and educational institutions. Amanda L. Cachia Amanda Cachia is an independent curator from Sydney, Australia and is currently completing her PhD in Art History, Theory and Criticism at the University of California, San Diego. Her dissertation will focus on the intersection of disability and contemporary art, and she is the 2014 recipient of the Irving K. Zola Award for Emerging Scholars in Disability Studies, issued by the Society for Disability Studies. She completed her second Master’s degree in Visual and Critical Studies at the California College of the Arts in San Francisco in 2012, and received her first Master’s in Creative Curating from Goldsmiths College, University of London in 2001. She held the position Director/Curator of the Dunlop Art Gallery in Regina, Saskatchewan, Canada from 2007-2010, and has curated approximately 30 exhibitions over the last ten years in various cities across the USA, England, Australia, and Canada. Her critical writing has been published in numerous exhibition catalogues and online art journals including Canadian Art and Art Monthly Australia, and peer-reviewed academic journals such as Canadian Journal of Disability Studies, Disability Studies Quarterly, Journal of Visual Art Practice and forthcoming issues of The Review of Disability Studies: An International Journal, The Journal of Literary and Cultural Disability Studies, and Museums and Social Issues: A Journal of Reflective Discourse. She has lectured and participated in numerous international and national conferences and related events within the USA, Canada, Australia, and Europe, and has served as a panellist for the National Endowment for the Arts Art Works grant and Canada Council for the Arts. She is a dwarf activist and has been the Chair of the Dwarf Artists Coalition for the Little People of America since 2007. She also serves on the College Art Association’s Committee on Diversity Practices (2014-2017). Laura-Edythe Coleman Laura-Edythe Coleman is a Doctoral Student in the School of Information within the College of Communication and Information at Florida State University. Her research and teaching interests include Museum Informatics, museum evaluation, knowledge management, and the co-creation of identity. Her particular area of research examines cultural heritage institutions in communities reconciling civil conflict. She seeks to understand the role of information in the creation of individual and collective identities. In specific, her research studies the exchange of information within the national museums of Northern Ireland and the 9/11 Memorial Museum in New York. Jennifer Davison Jennifer Davison is a doctoral student at Queen’s University, Belfast. She received her BA in History with English Studies (Hons) at Teesside University, Middlesbrough and her MA in American History at the University of East Anglia (UEA), Norwich. Her research areas are memory theory, urban theory, and representations of race and slavery in public histories. Her PhD thesis provides a transatlantic study of how slavery is remembered by an analysis of outdoor/living history and indoor museums in the United States and United Kingdom. She is particularly interested in how museums reveal not only the memory of slavery in both countries but also contemporary issues about race in these societies. Brian Forist Brian Forist is an Associate Instructor and PhD student in the Department of Recreation, Park, and Tourism Studies at Indiana University. He holds a BS from Huxley College of the Environment and an MS from Antioch University New England. His expertise is in natural and cultural history interpretation with many years of experience in national parks. He is currently working on a new pedagogy of two-way, visitor-centered interpretation through dialogue. Of particular interest is two-way interpretation is informal settings.
27 2014 Museum Conference Gail Ana Gomez Gail Ana Gomez is a graduate student in the University of Illinois at Chicago’s Museum and Exhibition Studies program. After graduating from UNC-Wilmington in 2008 with a double BA in Art History and Studio Arts, she worked in exhibition planning and research at the Black Mountain College Museum and Arts Center in Asheville, NC. Since coming to Chicago to study museums, she has worked in contemporary art writing and as a curatorial assistant at the Art Institute of Chicago. Her current research focuses on museum access, donor’s rights, and collections as well as American and European Modern Art and Arts Education. Alyssa Greenberg Alyssa Greenberg is a doctoral student in the Department of Art History at the University of Illinois at Chicago and a recipient of the University Fellowship. She works at the Jane Addams Hull-House Museum as an education assistant, and her research interests include museum pedagogy and the museum as a site of activism. Her research has been presented at Tufts University, the University of Sussex, Ben-Gurion University of the Negev, the Statens Museum for Kunst, and other venues. She serves as a member of UIC’s Art History Graduate Student Association and the UIC Graduate Employees Organization. She received a BA from Oberlin College in 2009 and an MA from the Bard Graduate Center in 2011. Patrizia Thuy Vi Koenig Patrizia Thuy Vi Koenig is a MSt candidate in History of Art and Visual Culture at the University of Oxford, St. John’s College and works at OCCA Office of Contemporary Chinese Art. She is scholar of the German National Academic Foundation (Studienstiftung) and the German Academic Exchange Service (DAAD). She received her BA summa cum laude in Liberal Arts and Sciences from the University College Maastricht. Her research interests span the fields of museums studies, art theory, intellectual property law, and the history of the art market – with a particular interest in questions of authenticity and replication and focus on performance, photography, and Chinese art. She is currently working on 3D printing as artistic medium and reproductive technology, and has most recently presented her research on issues of performance and curating at the University Maastricht TEFAF conference and the Association of Art Historians. Rozhen Kamal Mohammed-Amin Rozhen Kamal Mohammed-Amin is an architect originally from Kurdistan of Iraq and a PhD candidate in the Faculty of Environmental Design (EVDS) at the University of Calgary, Canada. As a practicing architect, she designed and co-designed numerous architectural projects in Kurdistan including residential, commercial, and recreational buildings. She was also involved in developing and supervising development of master plans in both the State Organization of Tourism and Directorate of Urban Planning and Design in the Ministry of Municipality, Kurdistan Regional Government. After two years of professional practice, she returned to academia to purse her dream of researching and digging for new knowledge. She completed her Master’s degree in EVDS in 2010 and subsequently started her PhD. Her life-long interests in cultural heritage, historic architecture, and technology have caused her to dedicate her research projects and thesis to explore the confluence of these domains. In her BSc. thesis project, she designed a memorial museum in which she proposed integrating new state-of-the art technologies with the museum exhibits, while in her master’s thesis she designed a mobile Augmented Reality proof-of concept for the ancient site of Erbil citadel in Kurdistan of Iraq. Her exploration to the applications of AR technology in museums and cultural heritage domain has continued to her PhD degree. In her PhD research, she is designing, developing, and evaluating a mobile AR guide for Canada’s largest living history museum, Heritage Park Historical Village in Calgary, Alberta. Kristen Vogt Kristen Vogt is a third year doctoral student in Curriculum and Instruction at University of Illinois at Chicago. She is also the Manager of Education at the International Museum of Surgical Sciences, where she conducts her research on scientific inquiry and medical education. She received her BA in Medieval Studies (Hons) at the University of Oregon and her MPA in Museum Administration at Southern Illinois University, where her thesis focused on university museums and their impacts on local rural communities. She has always been inspired by how the identity of a learner affects comprehension of a subject, whether it is in a science museum or a classroom. This was inspired by her experiences teaching and working at the Pacific Science Center, the Coos Historical and Maritime Museum, the Lubbock Lake Landmark, and the Southern Illinois University Museum. She has also studied as a research assistant at the Learning Science Research Institute and the New York Science Hall under Dr. Leilah Lyons. Her work on informal education within museums has recently been presented at the American Association for the Advancement of Science and the American Educational Research Association. Pınar Üner Yılmaz Pınar Üner Yılmaz is a PhD candidate at the University of Illinois at Chicago in Art History Department. Her area of concentration is contemporary art with a particular interest in cross-cultural curatorial studies and Istanbul Biennials. She received her Bachelor's degree in Art Management in 2006 and Master's degree in Art and Design in 2009 from Yildiz Technical University in Istanbul, Turkey. During her undergraduate and graduate studies she has worked as an assistant curator in galleries and museums in Istanbul and curated shows on her own. She has participated in several museum workshops, symposia and art projects around Europe which are fully funded by European Commission. She is currently working at UIC's contemporary art gallery, Gallery 400 as the curatorial graduate assistant, and she is a former recipient of Fulbright and TUBİTAK scholarship for graduate education, and TEV (Turkish Education Foundation) scholarship for undergraduate education. 2014 Museum Conference MONDAONDAYY, 04 AUGUST 28
8:00-9:00 REGISTRAREGISTRATIONTION DESK OPEN CONFERENCE OPENING: RICK WEST, AUTRUTRY NAY ATIONALTIONAL CENTER OF THE AMERICAN WEST, USA;, USA; 9:00-9:30 AMARESWMARESWARAR GALLA, INSTITUTE FOR THE INCLUSIVE MUSEUM, DENMARK AND INDIA; AN LAISHUN, ICOM, CHINA, REPRESENTING THE PRESIDENT OF ICOM 9:30-10:00 PLENARPLENARY SESSION: NINA SIMON, SANTANTAA CRUZ MUSEUM OF ARRTT AND HISTORISTORYY, USA, USA R ICHARD URIN NDER ECRETECRETARARYY FOR ISTORISTORYY R TT AND ULULTURETURE 10:00-10:30 PLENARPLENARYY SESSION: D . R K , U S H , A , C , SMITHSONIAN INSTITUTION, USA 10:30-11:00 BREAK AND GARDEN SESSION 11:00-11:45 MIXED (TM (TALKING CIRCLE, PARALLEL SESSIONS) ClassrClassroom 1oom 1 TTALKINGALKING CIRCLE: ReprRepresentationsesentations & 2014 Special Theme: SharShared Ved Visionsisions and SharShareded Histories ClassrClassroom 2oom 2 TTALKINGALKING CIRCLE: VVisitorsisitors TheaterTheater TTALKINGALKING CIRCLE: Collections 11:45-12:30 LUNCH: LOCAOCATEDTED IN HERITERITAGEAGE COUROURTT 29 MONDAONDAYY, 04 AUGUST 2014 Museum Conference
12:30-13:15 PPARALLEL SESSIONS CafeCafe Posters & Focused Discussion Sessions Held in the Cafe Equity Audits in Museum Education: A Case Study Tracey Collins, Natural History Museum of Utah, University of Utah, Salt Lake City, USA Overview: Museum educators conducted an equity audit focused on key indicators, as an entry point into equity work. The data produced revealed patterns of inequity and museum practices that legitimized inequities. Theme: Visitors Beyond a Bug in a Box: Connecting Collections with Community via Augmented Reality and Specimen-based LearLearningning Applications Dr. Melody Basham, School of Life Sciences Natural History Collections, Arizona State University, Tempe, USA Dr. Yasin Ozarslan, Department of Science Culture, Yasar University, Izmir, Turkey Overview: This poster providse an overview as to how a university-based insect collection is using augmented reality and 3D imaging techniques to connect the public with their specimens. Theme: Visitors Why Race Matters in Museums: Cultivating a Place for People of Color Porchia Moore, School of Library and Information Science, The University of South Carolina, Columbia, USA Overview: Changing racial demographics within the United States and abroad signals that museums cannot ignore matters of race pertaining to staff, representation, and preservation of cultural material and artist representation. Theme: Visitors Diversity and Museums: How Can Museums Support or Be StrStrengthenedengthened by Making Use of the Development Potential of a Multicultural Society? Eric Fugeläng, Mission and Analysis Unit, The Swedish Exhibition Agency, Visby, Sweden Overview: This discussion is an exchange of ideas and experiences on how museums can increase diversity, inclusivity, and intercultural dialogue to support or be strengthened by a multicultural society. Theme: Representations Models for Collection of Islamic Art Dr. Hila Algsir, Princess Nora University, Riyadh, Saudi Arabia Overview: This paper discusses models for the collection of Islamic art from the Islamic Umayyad and Abbasid eras in International Museums. Theme: Representations When WWhen Worldsorlds Collide: Museums, Communities, and the Ethics of ReprRepresentationesentation Tom Hennes, Thinc Design, New York, USA Overview: This roundtable will examine successful and unsuccessful processes of consultation and collaboration with communities that museums wish to represent. The discussion will focus on the ethical implications for museums today. Theme: 2014 Special Theme: Shared Visions and Shared Histories Using Public PrProgramsograms as a Pathway to Engage Diverse VVisitors:isitors: Strategies for Audience Development and Ensuring Relevance Stacy Lieberman, Communications and Visitor Experience, Autry National Center of the American West, Los Angeles, USA Robyn Hetrick, Programs and Public Events, Autry National Center of the American West, Los Angeles, USA Overview: This roundtable focuses on using public programs and communications as a way to ensure museums stay relevant to audiences with vastly different expectations about participation, consumption, engagement, and entertainment. Theme: Visitors Capacity Bundling for Contemporary Museums Prof. An Laishun, ICOM China, Beijing, China Overview: This roundtable discusses capacity building at the ICOM International Training Centre for Museum Studies at the Palace Museum in Beijing and seeks collaboration from delegates on capacity building. Theme: 2014 Special Theme: Shared Visions and Shared Histories Informal InterprInterpretation:etation: An Underutilized ApprApproachoach to Dialogue with VVisitorsisitors Brian Forist, Department of Recreation, Park, and Tourism Studies, Indiana University, Bloomington, USA Overview: This paper proposes informal interpretation based in dialogue theory as a way of contacting visitors on their terms. It is an underutilized form of communication in museums and other sites. Theme: Visitors Museum Collections and the Importance of Studying History Hend Mohammed Alturki, College of Arts Department of History and Civilization, Princess Noura University, Riyadh, Saudi Arabia Overview: This poster shows images of an antiques collection focusing on museum's as a place for collecting, maintaining, and presenting historical and scientific possession for generations to come. Theme: Visitors 2014 Museum Conference MONDAONDAYY, 04 AUGUST 30
12:30-13:15 PPARALLEL SESSIONS The Socially Inclusive Museum: A TTypologyypology Re-imagined Laura-Edythe Coleman, School of Library and Information Science, College of Communication, Florida State University, Tallahassee, USA Overview: Augmented by Gatekeeper and Knowledge Creation theories from Library Information Sciences, this work re- imagines Richard Sandell's typology to reflect a new way of depicting and measuring social inclusivity for museums. Theme: Visitors CrCreatingeating an Inclusive Cultural Heritage Informatics Doctoral PrProgram: Program: Progrogress, Press, Prospects,ospects, and New DirDirectionsections Dr. Jennifer Arns, School of Library and Information Science, University of South Carolina, Columbia, USA Karen Miller, School of Library and Information Science, University of South Carolina, Columbia, USA Overview: This roundtable discusses the steps required to develop the successful IMLS funded CHIL program and the inclusive research agenda guiding the new Annual Review of Cultural Heritage Informatics. Theme: Collections Community Partnership Roundtable Discussion: Domestic WWorkersorkers as Community Docents at the Jane Addams Hull-House Museum Irina Zadov, Education Department, Jane Addams Hull-House Museum, Chicago, USA Alyssa Greenberg, Department of Art History, University of Illinois at Chicago, Chicago, USA Overview: By positioning domestic workers as Community Docents, our museum challenges the power imbalances of traditional museum education. Join us in discussing best and innovative practices in museum and community partnership. Theme: Visitors Safari AdventurAdventure:e: Designing and Evaluating for Better Connections to NaturNaturee Sarah Hezel, Exhibition and Graphic Arts Department, Wildlife Conservation Society, Bronx, USA Lee Patrick, Exhibition and Graphic Arts Department, Wildlife Conservation Society, Bronx, USA Sarah Werner, Exhibition and Graphic Arts Department, Wildlife Conservation Society, Bronx, USA Sarah Edmunds, Exhibition and Graphic Arts Department, Wildlife Conservation Society, Bronx Zoo, USA Overview: Today, there exists a greater need to connect people to nature. In this poster, we identify useful nature exhibit practices from several exploratory tactics for our zoo’s proposed exhibit. Theme: Visitors FrFrom Strom Strengthength to StrStrength:ength: Involving Artists in the TTeachingeaching Mission of University Museums Dr. Margo Smith, Kluge-Ruhe Aboriginal Art Collection, University of Virginia, Charlottesville, USA Overview: A residency program at the Kluge-Ruhe Collection aims to integrate Indigenous Australian artists into the academic life of the University of Virginia through multidisciplinary programs tailored to each artist’s strengths. Theme: Representations ClassrClassroom 1oom 1 WWorkshoporkshop Using the Storypath ApprApproach to Toach Teach Yeach Young Learoung Learnersners about Museums Dr. Margit McGuire, Teaching and Learning, Seattle University, Seattle, USA Overview: Storypath uses the story-form to structure the curriculum and an inquiry process to engage children in critical thinking. Participants will experience how children are involved in creating a museum. Theme: Visitors ClassrClassroom 2oom 2 WWorkshoporkshop Reframing Inclusion: A New TToolool and Global Dialogue Valerie Fletcher, Institute for Human Centered Design, Boston, USA Overview: Museums across the globe struggle with serving audiences more varied in age, ability, and culture than ever before. It’s time to reinvent how we create experiences for everyone. Theme: Visitors TheaterTheater Publishing WWorkshoporkshop Publishing YYourour Article or Book with Common GrGroundound Jamie Burns, Common Ground Publishing, Champaign, USA Overview: Get an overview of Common Ground’s publishing philosophy and practices, tips for turning presentations into journal articles, an overview of publishing procedures, and an introduction to the book series. Theme: None
13:15-13:30 BREAK 31 MONDAONDAYY, 04 AUGUST 2014 Museum Conference
13:30-15:10 PPARALLEL SESSIONS ClassrClassroom 1oom 1 Dynamics of ReprRepresentationesentation "The Museum for the People": A Review of the Oakland Museum of Californiania Dr. Sharon Pittman, Cultural Studies Department, Museums Studies Concentration, Claremont Graduate University, Los Angeles, USA Overview: This paper questions the Oakland Museum of California relating to the degree to which it has become interactive and realized its vision of being an apparatus of the people. Theme: Visitors Humanizing and HerHeroizingoizing the Fetus: The PrProductionoduction of ReprReproductionoduction at Chicago's Museum of Science and IndustryIndustry Kristin Otto, Anthropology, DePauw University, Greencastle, USA Overview: The Museum of Science and Industry's "Your Beginnings" serves as a case study to explore the construction of a narrative of reproduction that commodifies the fetus and silences the mother. Theme: Representations Negotiating Photography’Photography’ss Discursive Meaning within the New Institutionalist Museum: A Qualitative Case Study of the Foam Museum in AmsterAmsterdamdam Patrizia Koenig, History of Art and Visual Culture, University of Oxford, Oxford, UK Overview: Based on Foucault’s theorization of "pouvoir/savoir," this qualitative research explores how photography’s discursive meaning is complexly negotiated within the museum with a case study on the Foam museum in Amsterdam. Theme: Representations Negotiation with Oral Histories at the Canadian Museum of Immigration at Pier 21 Ashley Clarkson, History Department, Concordia University, Saint-Eustache, Canada Overview: The current research will illustrate how oral histories are in constant negotiation in museum exhibits. The Canadian Museum of Immigration at Pier 21 will be used as a case study. Theme: Visitors ClassrClassroom 2oom 2 CrCrossoss Connections: Community and Museum New Land, New Museums, Same Old Stories? Performing and Engaging Communities through Museum Practice in the Dutch IJsselmeerpolders Demelza van der Maas, Faculty of Arts Department of History CLUE - Research institute for the heritage and history of the Cultural Landscape and Urban Environment, VU University Amsterdam, Amsterdam, Netherlands Overview: This paper critically reflects upon the way community is performed through local museum practice in the Dutch IJsselmeerpolders. Theme: Representations Shifting Points of VView:iew: Exchanges and Reframes in the Museum and School Relationship Juliana Pinto, Art and Education Art and Cultural Program Directory, Inhotim Institute, Brumadinho, Brazil María Eugenia Salcedo Repolês, Management and Coordination of Transversal Education Art and Cultural Program, Instituto Inhotim, Brumadinho, Brazil Wendell dos Reis Silva, Art and Education, Art and Cultural Programs Directory, Inhotim Institute, Brumadinho, Brazil Overview: This paper discusses shifting the observer's point of view. It explores how the program methodology of "Descentralizando o Acesso" constructs new meanings and actions in school and teacher surroundings. Theme: Visitors "The Art and CulturCulturee Companions": Museum VVolunteeringolunteering as Mixed Serious LeisurLeisure fre fromom a Finnish Art Museum PrMuseum Projectoject Jing Yang, Department of Art and Culture Studies, Faculty of Humanities, University of Jyväskylä, Jyväskylä, Finland Overview: My paper is based upon one art museum volunteering project in Finland; specifically focused upon how art museum volunteers have combined participation in arts and culture and voluntary mission. Theme: Visitors The EmpirThe Empiree Strikes Back: CrCreatingeating Active Museum LearLearningning in London Dr. Adam Unwin, Faculty of Children and Learning, Institute of Education, University of London, London, UK Overview: This paper explores the potential of museum learning by reporting a project run at the British Museum with four London secondary schools. Theme: Visitors 2014 Museum Conference MONDAONDAYY, 04 AUGUST 32
13:30-15:10 PPARALLEL SESSIONS Heritage CtHeritage Ct WWorkshopsorkshops (Interactive WWorkshoporkshop runs 13:30-14:15; Access runs 14:25-15:10) Interactive Sensory Objects for and by People with LearLearningning Disabilities Dr. Kate Allen, Art Lecturer/Researcher, Department of Art University of Reading, Reading, UK Dr. Faustina Hwang, Interactive Systems Reserach Group, University of Reading, Reading, UK Andy Minnion, Rix Centre, University of East London, London, UK Dr. Nic Hollinworth, School of Systems Engineering, University of Reading, Reading, UK Overview: In our project people with learning disabilities are co-researchers exploring museum interpretation through multisensory workshops, using microcontrollers and sensors to enable alternative, interactive visitor experiences in museums and heritage sites. Theme: Visitors Access Is Just the Beginning: Inclusive Museum Education Strategies Allison Davidson, Education, Meadows Museum at Southern Methodist University, Dallas, USA Overview: This project is informal, hands-on exploration of the multisensory tools and inclusive strategies the Meadows Museum pilots to make visual art accessible for all people, including those with visual impairments. Theme: Visitors LibraryLibrary Dynamics of Museum Spaces The Iconic Magnetism of Museums as Places Prof. Lineu Castello, PROPAR-Research and Postgraduate Programme in Architecture, UFRGS, UniRitter / Mackenzie Universities, UFRGS-Federal University of Rio Grande do Sul, CNPq-Brazilian National Research Council, Porto Alegre, Brazil Overview: The paper examines the possibility of Iberê Camargo Museum becoming a place in Porto Alegre due to the possible overspill of urbanity it spreads to its surroundings. Theme: Representations Semiotic Aspect of Museum Landscape: Contextual Integration and Symbolic Application Dr M. Salim Ferwati, Department of Architecture and Urban Planning, Qatar University, Doha, Qatar Dr. Rania F. Khalil, Department of Architecture and Urban Planning, College of Engineering, Qatar University, Doha, Qatar Overview: This research studies the development of the landscape of contemporary museums, their conceptual classification, and their contextual implementation from the mid-twentieth century up to present. Theme: Representations City Museum: Restoring the Bursa Orhangazi SquarSquaree Kadir Uyanik, Faculty of Architecture, Architectural Design, İstanbul Kültür University, Istanbul, Turkey Overview: This study compares the new urban square design with existing urban space and discusses the impact of the social habits on the city as an open air museum. Theme: Representations Short-TShort-Termerm Contracts: On Michael Asher’Asher’ss Institutional Critique and Contemporary Artists' Critique of InstitutionsInstitutions Ionit Behar, Art History Department, University of Illinois at Chicago, Chicago, USA Overview: This paper investigates the strategy of displacement in Michael Asher’s Chicago projects. Asher exposed museums’ functions by displacing what was already in the collection rather than adding new work. Theme: Collections 33 MONDAONDAYY, 04 AUGUST 2014 Museum Conference
13:30-15:10 PPARALLEL SESSIONS TheaterTheater Arts in the Museum A TA Twenty-firstwenty-first Century Wunderkammer:Wunderkammer: TheThe MuseumMuseum ofof OldOld andand NewNew Art,Art, Hobart,Hobart, TasmaniaasmaniaT Georgina Walker, Art History, School of Culture and Communication, Faculty of Arts, University of Melbourne, Melbourne, Australia Overview: This paper examines how the Museum of Old and New Art (Mona) subverts established museological protocol and curatorial display principles that challenge the notion of the twenty-first century art museum. Theme: Collections Art WArt Willill Continue to Exist Only by Inertia: On the Museum of American Art, Berlin Dr. Pil Kollectiv, Department of Fine Art, University of Reading, London, UK Galia Kollectiv, Fine Art, University of Reading, UK Overview: Focusing on the activities of the MoAA - Berlin, this paper proposes that, paradoxically, identification with the role of the museum offers a radical critique of the canon. Theme: Collections Art AdventurAdventuree in the Museum: How Students LearLearned to Prned Presentesent Their Exhibition to the Community thrthroughough Making Art, Curating the ShowShow,, and Marketing Their Artworks Yaping Chang, Department of Fine Arts, National Taiwan Normal University, Taipei, Taiwan Shuhua Lin, Department of Fine Arts, Doctoral Program, National Taiwan Normal University, Taipei, Taiwan Hung Wen-ling, Department of Fine Arts, National Taiwan Normal University, Taipei, Taiwan Overview: In this study, the researcher explored new possibilities of practicing and deepening art education through students’ making of the exhibition and marketing of the artworks. Theme: Representations Evaluation of Art WWork:ork: Scientific TestingestingT oror ArtArt AppraisalsAppraisals Yin Cheng Jin, School of English, Media Studies and Art History, The University of Queensland, Richmond, Australia Overview: Analysing the rationale, perception, and practical deficits of certain scientific tests in international cases. Discussing the pitfalls of a purely scientific approach and the importance of inclusive curatorial performance. Theme: Collections
15:10-15:20 BREAK 15:20-17:00 PPARALLEL SESSIONS ClassrClassroom 1oom 1 Exhibition Dynamics and Museum Practices Is CrIs Cross-culturaloss-cultural Curatorship Possible: The Case of Istanbul Biennials and the State of Art in the "Orient" Pinar Uner Yilmaz, Art History, University of Illinois at Chicago, Chicago, USA Overview: Through the examination of Istanbul Biennials, I aim to examine whether curatorial approaches foster cross- cultural art interaction and provide venues for local and international emerging artists. Theme: Representations A Portrait of the Curator as a TTranslator:ranslator: Reflections on FrFrench-Germanench-German CooperationCooperation Pierre-Nicolas Bounakoff, Iwalewa-Haus, University of Bayreuth, Bayreuth, Germany Overview: A look at curating international cooperations and managing the different expectations from both sides while trying not to turn the exhibition into a political instrument. Theme: Collections 2014 Museum Conference MONDAONDAYY, 04 AUGUST 34
15:20-17:00 PPARALLEL SESSIONS ClassrClassroom 2oom 2 Museum Education Refugee Audiences and Museum PrProgramming:ogramming: Engagement, Participation, and Collaboration Marianna Pegno, School of Art, Art and Visual Culture Education, University of Arizona, Tucson, USA Overview: This presentation of research will explore participatory museum education and programming with refugee audiences. Interviews and other responses will illuminate how museum educators and refugee participants collaboratively develop museum programs. Theme: Visitors "It's Not Just TTouching”:ouching”: Inclusive Museum Pedagogy at the Royal Ontario Museum and the Art Gallery of OntarioOntario Kate Zankowicz, Ontario Institute for Studies in Education, University of Toronto, Toronto, Canada Overview: This paper examines the history and the practice of inclusive, multisensory pedagogy in museums and how access policies and programming have changed, at a museum and gallery in Toronto. Theme: Visitors Evaluating VVilleneuve’illeneuve’ss Model of Supported InterprInterpretationetation at the "Mixing It Up: Building an Identity" Art ExhibitionExhibition Alicia Viera, Department of Art Education, Florida State University, Tallahassee, USA Overview: This presentation shares the results of an evaluation of the Supported Interpretation (SI) model as it was applied at the "Mixing It Up: Building an Identity" art exhibition. Theme: Visitors Fascinating Narratives: TTextualextual Analysis inside the Museum Elana Bernnard, MA Candidate in Exhibition and Museum Studies, The San Francisco Art Institute, San Francisco, USA Overview: Rather than adopting the vocabulary of advertising, wall text in museum exhibitions should function to ignite viewers' critical thinking processes. The educational integrity of wall texts must be interrogated. Theme: Visitors Heritage CtHeritage Ct ReprRepresentingesenting Marginalized Communities Orientalism Redeployed: Art as Cultural Self-critique and Self-reprepresentationesentation Dr. Derek Bryce, Marketing, University of Strathclyde, Glasgow, UK Dr. Elizabeth Carnegie, Creative and Cultural Industries, University of Sheffield, Sheffield, UK Overview: This paper explores the redeployment of Orientalist Art as a means of cultural self-critique in "Western" galleries and as a self revelatory lens in Turkish and Middle Eastern institutions. Theme: Representations ArArchitecturalchitectural Museum Design for Living Artifacts Prof. Joy Malnar, School of Architecture, University of Illinois at Urbana-Champaign, Champaign, USA Prof. Frank Vodvarka, Department of Fine and Performing Arts, Loyola University Chicago, Chicago, USA Overview: This paper discusses four Indigenous contemporary museums that reinforce, through design, the values of a particular Native culture and its building traditions. All include spaces that allow for ceremonial practices. Theme: Representations Black, GrBlack, Green,een, and Orange: The UlsterUlster-American-American Folk Park Jennifer Davison, Queen's University Belfast, Belfast, UK Overview: This paper examines the eradication of race and slavery from the public histories of these Ulster-Scot immigrants at the Ulster-American Folk Park. Theme: Representations CrCreatingeating a Museum to SharShare:e: The Birth of the Anacostia Community Museum within Its Divided Communities Joshua Gorman, Collections and Research, Smithsonian Anacostia Community Museum, Washington, USA Overview: The Anacostia Neighborhood Museum appropriated methods from contemporary social activists to disrupt notions of museum to better reflect the needs and interests of constituent creators. A history with contemporary analogy. Theme: Representations 35 MONDAONDAYY, 04 AUGUST 2014 Museum Conference
15:20-17:00 PPARALLEL SESSIONS LibraryLibrary Digital PrDigital Preservationeservation and CrCreativeeative Interventions The Jazeera Al Hamra Digital Heritage PrProject:oject: A Model for Digitally PrPreservingeserving the Heritage of the Arabian PeninsulaPeninsula Seth Thompson, College of Architecture, Art and Design, American University of Sharjah, Sharjah, United Arab Emirates Overview: This paper presents a model for digitally preserving and re-presenting tangible and intangible cultural heritage of the Arabian Peninsula and beyond, using Al Jazeera Al Hamra, an at risk site. Theme: Representations Augmenting Museum and Historic Site Spaces: Designing Augmented Reality Systems Rozhen Kamal Mohammed-Amin, Faculty of Environmental Design, University of Calgary, Calgary, Canada Overview: This paper discusses applications of AR in museums and historic sites with a focus on designing and developing mobile AR systems and presents some AR research projects from the researcher. Theme: Representations FrFromom Place to the Museum Case: Evaluating Access to Pompeii Hilary Grant, Department of Archaeology, University of Cambridge, St. John's, Canada Overview: Facilitating access to historic places by translating them to museum exhibitions, this presentation considers the importance of embodiment, agency, and authenticity in providing access to heritage through different mediums. Theme: Visitors New Museology at the Casa Museo Quinta de Bolívar: A Case Study for Examining Creative Intervention as an Inclusive Practice Dr. Gina McDaniel Tarver, School of Art and Design, Texas State University, San Marcos, USA Overview: This case study examines creative interventions, most typically in the form of contemporary art installations, as an inclusive approach to cultural heritage at the Casa Museo Quinta de Bolívar, Bogotá. Theme: Collections TheaterTheater ColloquiumColloquium Museums and the BrBroaderoader Campus: Partnerships in Higher LearLearningning Dr. Virginia Scharff, Faculty Development History, Autry National Center of the American West, Alberquerque, USA Dr. Joshua Goode, Department of History History and Cultural Studies, Claremont Graduate University, Claremont, USA Dr. Carolyn Brucken, Curatorial, Autry National Center of the American West, Los Angeles, USA Liza Posas, Braun Library, Los Angeles, USA Dr. Amy Lyford, Modern Art History Arts and Humanities Curriculum, Occidental College, Los Angeles, USA Dr. Amy Scott, Autry National Center of the American West, Los Angeles, USA Overview: This colloquium explores how museums shift towards inclusivity and shared authority has created new opportunities for collaboration, research, and student engagement in higher learning and research. Theme: Representations
17:00-18:30 CONFERENCE RECEPTION: LOCAOCATED ATED ATT THE AUTRUTRY NAY ATIONALTIONAL CENTER OF THE AMERICAN WEST 2014 Museum Conference 36
MUSEUM DAY
The 2014 Museum Day will be held at Exposition Park. Registered delegates of the 2014 Inclusive Museum Conference will have the opportunity to participate in one of the following workshops. Transportation is provided to and from the conference hotel. Lunch is not provided, however, a lunch break during the day will be given for those in Options A and B.
Open to all registered delegates; however, separate registration is required. Please see the Registration Desk for available options.
08:00 BUSES LEAVE CONFERENCE HOTEL, THE HILTON-GLENDALE, FOR EXPOSITION PARK
09:00–10:15 OPENING DAY CALIFORNIA AFRICAN AMERICAN MUSEUM TOUR
10:15 BREAK TO RESPECTIVE OPTIONS
16:30 BUSES LEAVE EXPOSITION PARK FOR THE CONFERENCE HOTEL
17:15 ARRIVE BACK AT THE CONFERENCE HOTEL (HILTON LOS ANGELES/GLENDALE)
Opening Day California African American Museum Tour Delegates will tour the California African American Museum's exhibitions with curatorial staff.
About the California African American Museum The California African American Museum's mission is to research, collect, preserve, and interpret for public enrichment the history, art, and culture of African Americans with an emphasis on California and the western United States. The museum conserves more than 3,500 objects of art, historical artifacts, and memorabilia, and maintains a research library with more than 20,000 books and other reference materials available for limited public use. The permanent collection includes paintings, photographs, sculpture, and artifacts representing the diverse contributions of African Americans.
Option A: Natural History Museum Prepare to get your nature play on. You will experience a new and evolving urban nature space in the heart of Los Angeles that is designed to engage visitors of all ages and backgrounds. Through interactions with staff, plants, and animals, participants will experience the challenges and opportunities of developing programs that work for diverse audiences. Bring your walking shoes and sunscreen and expect to get your hands a little dirty!
About the Natural History Museum The Natural History Museum of Los Angeles County (NHM) holds more than 35 million objects—from meteorites 4.5 billion years old to new species of wildlife. These collections are the foundation of its research, programs, and exhibits such as Age of Mammals, the Dinosaur Hall, and Becoming Los Angeles, which explore the ways that the whole planet, and L.A. itself, have changed over time. NHM explores more than just history, however: The outdoor Nature Gardens and their companion, the Nature Lab, illuminate the surprising urban biodiversity in Southern California. 37 2014 Museum Conference Option B: The California Science Center Mission 26: The Big Endeavour Learn how the California Science Center endeavored to welcome a national treasure and make the Space Shuttle Endeavour accessible to millions of students, locals, tourists, budding astronauts, aerospace engineers, and others. Hear from the air and space curator, along with education, community outreach, and communications staff, and discuss the ways your museum can unite your city and region to help make your museum a must-experience destination.
About the California Science Center The facility, which opened in February 1998, spans more than 400,000 sq. feet and includes four major exhibit areas. World of Life probes the commonalities of the living world, from the single-celled bacterium to the 100-trillion-celled human being; Creative World examines the ways people employ technology to meet their needs for transportation, communication and structures; and Ecosystems, a major expansion opened in March of 2010, features an unprecedented blend of nearly 400 species of live plants and animals, and hands-on exhibits in 11 immersive environments. The fourth major exhibit, The Space Shuttle Endeavour is the feature of the 2014 Inclusive Museum Day Workshop. The California Science Center provides an innovative model for science learning by combining exhibits with an on-site Science Center School and Amgen Center for Science Learning as well as a teacher professional development program.
Option C: Exposition Park Delegates not wanting to participate in a day long workshop are invited to tour all three museums in Exposition Park for free. Delegates are invited to visit the California Science Center, The Natural History Museum of Los Angeles County, and the California African American Museum.
*Delegates must wear conference name badges while visiting each museum. Special exhibitions above and beyond normal admission are not included. 2014 Museum Conference WEDNESDAEDNESDAYY, 06 AUGUST 38
8:30-9:00 REGISTRAREGISTRATIONTION DESK OPEN 9:00-9:30 PLENARPLENARYY SESSION: LIEBE GEFT, MUSEUM OF TOLERANCE, LOS ANGELES, USA 9:30-10:00 PLENARPLENARY SESSION: CHARMAINE JEFFERSON, PRESIDENT, KÉLAN RESOURCES, USA 10:00-10:30 BREAK AND GARDEN SESSION 10:30-12:10 PPARALLEL SESSIONS ClassrClassroom 1oom 1 Participatory Practices and VVisitorisitor Engagement Consolation and Reflection in WararW MemoryMemory Making:Making: PublicPublic ArtArt inin thethe MemorialMemorial HallHall ofof VictimsVictims in Nanjing MassacrMassacree by Japanese Invaders Shu Meng, Faculty of Humanities and Arts, Macao University of Science and Technology, Taipa, Macao Special Administrative Region of China Overview: Through a study of a public art installation in the Nanjing Massacre Museum, this paper analyzes how public art’s aesthetics helps transcend the illustrative and didactic function of museum design. Theme: Representations Institutionalized AnarAnarchy:chy: Facilitating the Co-crCo-creative Preative Processocess Lise Kapper, The Media Museum, Odense City Museums, Odense, Denmark Overview: This paper explores how to facilitate anarchy within the museum institution. A critical study of the inclusive practice and process employed in creating the co-created exhibition “Space Invaders Over Brandts.” Theme: Visitors A Sense of Place, a Sense of Self: Exploring Perspectives on Bath’s Cultural Heritage with Diverse YYoungoung Participants thrthrough Crough Creativeeative Art Engagement June Bianchi, School of Education, Bath Spa University, Bath, UK Overview: Enriching young participants’ constructions of personal and socio-cultural identity through an interactive creative arts project investigating alternative perspectives on a world heritage city’s cultural life through two contrasting museum collections. Theme: Visitors Heritage as TTool:ool: The NaturNaturee of a Census Data Exhibit on VVisitorisitor Engagement Kristen Anne Vogt, Department of the Learning Sciences, University of Illinois at Chicago, Chicago, USA Overview: A study of the effects of ancestry data selection in a census data exhibit on visitor engagement using embodied interaction at a science museum in New York City. Theme: Visitors ClassrClassroom 2oom 2 Museums in the Digital Age Model of EasterEasternn Arts and CulturCulture Ve Virtualirtual Museum Dr. Bunchoo Bunlikhitsiri, Visual Communication Arts Department, Faculty of Fine and Applied Arts, Burapha University, Bangsaen, Thailand Dr. Chattrawan Lanchwathanakorn, Curriculum and Instruction Department, Faculty of Education, Chulalongkorn University, Bangkok, Thailand Overview: The rapid growth in computer technology lead to new paradigms in Museums. This research studies, designs, and develops a model of an eastern arts and culture virtual museum in Thailand. Theme: Representations The Evolution of Forms of Cultural Mediation in the Digital Age in Museums: Between Tradition and Change Dr. Brigitte Juanals, MoDyCo, University Paris Ouest Nanterre La Défense, Paris, France Prof. Jean-Luc Minel, MoDyCo, University Paris Ouest Nanterre La Défense, Paris, France Overview: This paper studies the dynamics of linkage between cultural communication and innovative digital technologies. Theme: Representations 39 WEDNESDAEDNESDAYY, 06 AUGUST 2014 Museum Conference
10:30-12:10 PPARALLEL SESSIONS LibraryLibrary SharShared Ved Visionsisions and SharShareded Histories (Re)collecting YYesteresterdayday, T, Today:oday: The Universal Museum, LouvrLouvree Abu Dhabi Pallavi Swaranjali, Azrieli School of Architecture and Urbanism, Carleton University, Ottawa, Canada Overview: Louvre Abu Dhabi as an example that fosters discourse transgressing precincts between art history, forms, and techniques and contemplating correspondence of creative expressions from different civilizations and various geographical areas. Theme: 2014 Special Theme: Shared Visions and Shared Histories Removing Barriers between the Museum and the Community: Kayseri Inner Castle Archaeological Museum PrProjectoject Dr. Dogan Zafer Erturk, Faculty of Art and Design, Istanbul Kultur University, Istanbul, Turkey Dr. Nevra Erturk, Faculty of Fine Arts, Mimar Sinan Fine Arts University, Istanbul, Turkey Handan Guzelci, Faculty of Art and Design, Istanbul Kultur University, Istanbul, Turkey Orkan Zeynel Guzelci, Faculty of Art and Design, Istanbul Kultur University, Istanbul, Turkey Ali Kemal Terlemez, Faculty of Art and Design, Istanbul Kultur University, Istanbul, Turkey Overview: This paper discusses social inclusion through three focus points: the relationship among the city, the museum, and the community, museum architecture and planning, and curatorial work and museum exhibition. Theme: Representations An Inclusive Museum? Change and Community Capacity Building in Glasgow Museums Laura Gutierrez, Glasgow Museums, Glasgow, UK Susie Ironside, Learning and Access, Glasgow Museums, Glasgow, UK Overview: Glasgow Museums are undergoing a process aiming to encourage change within the culture of the organization, as well as fostering a climate of participatory practice between museums and their communities. Theme: Visitors Staging the Public ReprRepresentationesentation of Immigrants in Museum Exhibitions: A Contextualization Analysis Yannik Porsché, Institutes of Sociology, Johannes Gutenberg University Mainz, Université de Bourgogne, Mainz, Germany Overview: This study examines how curators, visitors, and journalists negotiate knowledge in a French-German museum exhibition on public representations of immigrants and how this contributes to immigrants’ political inclusion/exclusion in society. Theme: 2014 Special Theme: Shared Visions and Shared Histories TheaterTheater ColloquiumColloquium Museums, InterInterculturalityculturality,, and Cultural Citizenship: Perspectives on Educational Initiatives Based on Collaboration between Danish Art Museums and Danish Language and Integration Centers Nana Bernhardt, Education, The National Gallery of Denmark, Copenhagen, Denmark Tanya Lindkvist, Sorø Art Museum, Sorø, Denmark Julie Maria Johnsen, Education, Statens Museum for Kunst, Copenhagen, Denmark Sasja Brovall Villumsen, Education, Thorvaldsen Museum, Copenhagen, Denmark Jesse-Lee Costa Dollerup, Education, Sorø Art Museum, Sorø, Denmark Overview: Sorø Kunstmusem, The National Gallery of Denmark, and Thorvaldsens Museum present three different perspectives on collaboration between Danish art museums and language centers in the context of cultural citizenship. Theme: Visitors
12:10-12:55 LUNCH: LOCAOCATEDTED IN HERITERITAGEAGE COUROURTT 2014 Museum Conference WEDNESDAEDNESDAYY, 06 AUGUST 40
12:55-14:35 PPARALLEL SESSIONS ClassrClassroom 1oom 1 VVisitorisitor Engagement and Accessibility Challenges of Participatory Practice in Exhibition Development Jen Kavanagh, Exhibitions, Science Museum, London, UK Overview: Who is benefiting from participatory practice in exhibition development? Exploring the challenges and benefits of engaging audiences with content, design, and interpretation. Theme: Representations Curating Disability and Access: Ethics, Pragmatics, EfEffectsfects Amanda Cachia, Department of Visual Art, University of California San Diego, San Diego, USA Overview: This paper will explore the challenges of curating exhibitions that explore disability as its central theme. Theme: Representations The FuturThe Futuree of Museum Accessibility: Reducing Access Barriers to Museums with Smart Technologyechnology Jody Bowman, Strategy and Planning, Brisbane, Australia Tony Bennetts, Information Services Division, Brisbane, Australia Zoe Black, Strategy and Planning, Brisbane, Australia Hannah Bishop, Strategy and Planning, Brisbane, Australia Alexander (Sandy) Gilliland, Executive Team, Australian Communication Exchange, Stones Corner, Australia Overview: Smart Technology has changed the way we engage in communication and culture. Museum audio tours are being revolutionised with enhanced smart technologies, providing an access solution for all visitors. Theme: Visitors Performing the DIY Public Museum: Shifting the Frame of Conception, Production, and Reception Kathryn Mitchell, New Media, Arts, and Business, Southern Institute of Technology, Invercargill, New Zealand Overview: This paper explores what it would be like if anyone could create a museum that did not require a permanent building, paid staff, an operational budget, or a physical collection. Theme: Visitors ClassrClassroom 2oom 2 Dynamics of SharShareded Histories Activating the ArArchives:chives: The Recovery of StorStoreded Knowledge in History and Art Museums Tressa Berman, Institute for Inter-Cultural Practice, Los Angeles, USA Overview: Drawing on curatorial projects, this paper explores museum exhibitions that apply techniques of ethnohistory and contemporary art theory through the “activation” of collective memory in archival research. Theme: Collections Reframing History: A VVisitorisitor Study in Polish Historical Museums Aleksandra Janus, Faculty of History, Jagiellonian University in Cracow, Warsaw, Poland Overview: This paper outlines the results of a visitor studies project that I conducted in select Polish historical museums dealing with the difficult heritage of the recent past. Theme: Visitors Our WOur Way:ay: Exploring SharShareded Histories in Museums thrthroughough Participatory Art Dr. Natasha Reid, Division of Art and Visual Culture Education, University of Arizona, Tucson, USA Overview: This paper highlights stories that emerged during a participatory art intervention in a university museum, how these informed my university teaching, and how participatory art can support inclusive museum cultures. Theme: 2014 Special Theme: Shared Visions and Shared Histories 41 WEDNESDAEDNESDAYY, 06 AUGUST 2014 Museum Conference
12:55-14:35 PPARALLEL SESSIONS LibraryLibrary New Models of Museum Going CrCreatingeating a Self-made Museum on a College Campus: "W"We Are e All Amateurs HerHere"e" Dr. Kate Edney, History, World Languages and Cultural Heritage, Regis College, Weston, USA Overview: This paper explores the intersections and tensions of locating a "self-made museum" within an institute of higher learning. Theme: Collections The Chill Concept: The Museum Evolution Andreina Fuentes, The Chill Concept, Miami, USA Gerardo Zavarce, The Chill Concept, Caracas, USA Overview: A pop-up museum with a collection of curated projects and creative spaces designing a community. Theme: Representations Los Angeles' Diamond in the Rough: The Museum of Jurassic TTechnologyechnology Dr. Andrew Howe, Department of History, Politics and Society, La Sierra University, Riverside, USA Overview: This paper will examine the Museum of Jurassic Technology as a modern experiment reminiscent of Victorian curiosity cabinets, where throughout each exhibit the factual and fictional are juxtaposed. Theme: Visitors TTakingaking MeasurMeasure: Real Are: Architecturchitecturee of Participation Ingalill Wahlroos-Ritter, School of Architecture, Woodbury University, Los Angeles, USA Overview: WUHO is Woodbury School of Architecture’s center for experimental exhibitions. This paper discusses case studies of architecture-related exhibitions that exemplify the translation of metrics measuring from higher education to museums. Theme: Visitors TheaterTheater Inclusion and ReprRepresentationesentation Aliens and Auras: TTowarowardsds an Inclusive Theory and Practice of VVulnerabilityulnerability Dr. Henrik Lübker, The Hans Christian Andersen Museum, Odense City Museums, Odense C, Denmark Overview: Are inclusive practices often merely reproducing structures of power and privilege? An analysis of the co- created exhibition “Space Invaders over Brandts” says yes. Maybe it’s time to question ourselves again. Theme: Representations National Museums, Changing Nations: The Case of Scotland Dr. Alima Bucciantini, Public History, Duquesne University, Pittsburgh, USA Overview: The national museum has been around as a model for centuries. But now, the National Museum of Scotland, only opened in 1998, finds itself facing reinvention again. Theme: Representations Allophilia: The Museum’Museum’ss Role in Fostering Attitudes Beyond TToleranceolerance Dr. Todd Pittinsky, Stony Brook University, Port Jefferson, USA Overview: This paper addresses how museums can promote social cohesion by leading beyond passive tolerance to allophilia—positive and proactive attitudes towards “others.” Topics include avoiding the “empathy error.” Theme: Representations The Incluseum: Reflecting on Dynamic Blog Collaborations and the orkW of FeaturFeatureded Contributors Aletheia Wittman, Project Managers Editors Social Media and Web Coordinators, The Incluseum, Seattle, USA Rose Paquet Kinsley, Project Managers Editors Social Media and Web Coordinators, The Incluseum, Seattle, USA Overview: The Incluseum Blog is a social connector and repository for content created by scholars and practitioners invested in museum inclusion. This networked content expands common frameworks for understanding museum inclusion. Theme: Visitors
14:35-14:45 BREAK 2014 Museum Conference WEDNESDAEDNESDAYY, 06 AUGUST 42
14:45-16:25 PPARALLEL SESSIONS ClassrClassroom 1oom 1 Inclusive Museums: Multiethnic and InterInterculturalcultural Dynamics The Inclusive Museum in a Multiethnic Age: The Role of the Museum in a Contemporary, Multiethnic, Social Housing ArHousing Areaea in Denmark Susanne Krogh Jensen, Danish Immigration Museum, Furesø Museer, Farum, Denmark Kirsten Egholk, Greve Museum, Greve, Denmark Overview: Based on a research project in a multiethnic, social housing area south of Copenhagen, this presentation discusses the challenges to the role and methods of the museum in contemporary history. Theme: Representations The Application of Post-conflict Methodologies outside Divided Society Contexts: Lessons from Northerom Northernn IrIrelandeland and Limerick Dr. Dominique Bouchard, Education Department, The Hunt Museum, Limeirck, Ireland Overview: Overturning the accepted role of museums in facilitating change, this study examines the application of lessons, framework, and methodologies of conflict resolution in Northern Ireland to socially-engaged museum projects. Theme: Visitors Digital Dialogues and InterInterculturalcultural Understanding: The TTalking Difalking Differference Prence Projectoject as a Site for Dialogic ExchangeExchange David Henry, School of Historical and Philosophical Studies, University of Melbourne, Melbourne, Australia Overview: This paper analyzes the Talking Difference Portable Studio, a touring digital interactive designed to facilitate intercultural dialogue from Melbourne's Immigration Museum. Theme: Visitors ClassrClassroom 2oom 2 Negotiating Museum Spaces Relational Spaces between VVisitorsisitors and Art PrProfessionalsofessionals araroundound Contemporary Art Exhibitions in Museums Lara Portolés Argüelles, Internet Interdisciplinary Institute (IN3), Open University of Catalonia, Barcelona, Spain Overview: The research I present describes the relational spaces constructed between professionals and visitors around contemporary art exhibitions in two museums in Barcelona and analyzes the power geometries which order them. Theme: Visitors Never a "Non-place": WWorkingorking in-situ within the Gallery Space Shannon Lyons, School of Design and Art, Department of Art, Curtin University, Perth, Australia Overview: This paper focuses on how speculative approaches to developing artworks, in-situ, results in sensitive reflections of the particularities of the gallery space. Theme: Representations ArArchitecturalchitectural Spatial Theory and Its Relationship with Museum Exhibition Interactions Jillian Decker, Aiken Center for the Arts, Aiken, USA Overview: By examining the relationship between architectural spatial planning and the museum, this paper looks at the impact spatial planning has on visitor engagement with exhibitions. Theme: Visitors Museums and TTimeime of Access Maryam Asal Fotouhi, Department of Architecture, Columbia University, Cincinnati, USA Overview: Through a close analysis of a case study this paper proposes the extended accessibility to museums outside of normal business hours. Theme: Visitors Heritage CtHeritage Ct Late Additions The Hospital as Art Institution: The Philippine Heart Center Maria Angelica Viceral, Foundation Studies School of Design and Arts, De La Salle-College of Saint Benilde, Marikina, Philippines Overview: This paper discusses The Philippine Heart Center Hospital as an art institution governed by the Marcos Administration geared towards propagating the arts and culture of the country. Theme: Collections 43 WEDNESDAEDNESDAYY, 06 AUGUST 2014 Museum Conference
14:45-16:25 PPARALLEL SESSIONS LibraryLibrary Museums and Social Significance Interfaces: Hotels as Museums, Museums in Hotels Dr. Ulrike Zitzlsperger, College of Humanities Department of Modern Languages, Exeter University, Exeter, UK Overview: This paper explores how and to what effect select hotels integrate small museums into their premises and how the "musealization" of hotels helps to promote local and other histories. Theme: Representations Football: Believe It or Not Dr. Marie-Paule Jungblut, Basel Historical Museum, Basel, Switzerland Overview: This paper shows how an exhibition encourages visitors to examine the social significance of soccer. It explores similarities between soccer fans and religious zealots through cross-media storytelling. Theme: Representations Museums as Human Rights Activists: ArAree Museums AfAffectingfecting InterInternationalnational Norms? Jennifer Orange, Faculty of Law, University of Toronto, Toronto, Canada Overview: This paper investigates how museums, through their activist work in human rights projects, are becoming norm entrepreneurs in international human rights culture and law. Theme: Visitors On the WOn Wallsalls and into the Pages Prof. Martha Carothers, Department of Art, University of Delaware, Newark, USA Overview: Cross connections among the university museum, art history, and art departments provide the framework for the practical application of on-site learning by means of an undergraduate typographic design project. Theme: Visitors TheaterTheater Dynamics of Collections Collecting Peace: Artifacts as TToolsools for Constructing Peace Rachel Shrock, Jane Addams Hull-House Museum, College of Art and Architecture, The University of Illinois at Chicago, Chicago, USA Overview: Jane Addams Hull-House Museum Collection interprets material culture and historic artifacts within a framework of peace with justice, encouraging visitors to see the everyday as instruments of peace. Theme: Collections How Subjective and Self-prSelf-promoting Aromoting Aree Collections? An Iconographic ApprApproachoach of Art PatrPatronsons in Africa Katharina Greven, PhD Student and researcher of the Iwalewa-Haus, the Africa Center of the University of Bayreuth, junior fellow of the Bayreuth International Graduate School of African Studies since October 2012, Iwalewa-Haus, University of Bayreuth, Bayreuth, Germany Overview: Iconographic analyses of photographs from an art patron in the 1960s, reveal their mediating role, self- promotion, and subjective view of Africa raising the question as how to handle such collections. Theme: Collections The BarThe Barnesnes Foundation ContrControversy:oversy: Larger Museum Issues within a Complicated History Gail Gomez, Museum and Exhibition Studies, University of Illinois at Chicago, Chicago, USA Overview: This paper explores several museum issues surrounding private collections focusing on public access and donor’s rights, through a case study of the controversial move of the Barnes Foundation’s galleries. Theme: Collections Russian ARussian Avant-garvant-gardede in Moscow ArArchitecturalchitectural Institute Museum Collections Galina Malyasova, MARCHI Museum, Moscow Architectural Institute, Moscow, Russian Federation Prof. Larisa Ivanova-Veen, MARCHI Museum, Moscow Architectural Institute, Moscow, Russian Federation Overview: Moscow Architectural Institute (MARCHI) is the successor to the world-famous avant-garde school - VKhUTEMAS. MARCHI Museum has collected a considerable collection of works of VKHUTEMAS and other avant-garde schools. Theme: Collections
16:25-16:30 BREAK ICK EST UTRUTRY AY ATIONALTIONAL ENTER OF THE MERICAN EST NITED TTAATESTES 16:30-17:00 CLOSING SESSION: R W , A N C A W , U S ; AMARESWMARESWARAR GALLA, INSTITUTE FOR THE INCLUSIVE MUSEUM, DENMARK & INDIA
2014 Museum Conference 44 LIST OF PARTICIPANTS
Kate Allen University of Reading UK Maha al-Senan Princess Nourah Bint Abdulrahman University Saudi Arabia Hend Mohammed Alturki Princess Noura University Saudi Arabia Jennifer Arns University of South Carolina USA Melody Basham Arizona State University USA Ionit Behar University of Illinois at Chicago USA Tony Bennetts Australia Tressa Berman Borderzone Arts USA Nana Bernhardt The National Gallery of Denmark Denmark Elana Bernnard San Francisco Art Institute USA June Bianchi Bath Spa University UK Dominique Bouchard The Hunt Museum USA Pierre-Nicolas Bounakoff University of BayreuthPierre Germany Carolyn Brucken Autry National Center of the American West USA Derek Bryce University of Strathclyde UK Alima Bucciantini Duquesne University USA Bunchoo Bunlikhitsiri Burapha University Thailand Jane Burrell LACMA USA LeShawn Burrell-Jones Smithsonian Institution USA Amanda Cachia University of California San Diego USA Brittany Campbell Autry National Center of the American West USA Elizabeth Carnegie The University of Sheffield UK Martha Carothers University of Delaware USA Lineu Castello Federal University of Rio Grande do Sul Brazil Lilia Cavaciocchi The International Institute for the Inclusive Museum UK Yaping Chang National Taiwan Normal University Taiwan Ashley Clarkson Concordia University Canada Laura-Edythe Coleman Florida State University USA Tracey Collins University of Utah USA Karen Mary Davalos Self Help Graphics & Art USA Allison Davidson Meadows Museum at Southern Methodist University USA Jennifer Davison Queen's University Belfast UK Jillian Decker Aiken Center for the Arts USA Claudine Dixon LACMA USA Zahava D. Doering Smithsonian Institution USA Jesse-Lee Costa Dollerup Sorø Kunstmuseum / Sorø Art Museum Denmark Sarah Edmunds Wildlife Conservation Society, Bronx Zoo USA Kate Edney Regis College USA Kirsten Egholk Greve Museum Denmark Marva Felchlin Autry National Center of the American West USA M. Salim Ferwati Qatar University Qatar Valerie Fletcher Institute for Human Centered Design USA Ben Fitzsimmons Autry National Center of the American West USA
45 2014 Museum Conference Brian Forist Indiana University USA Maryam Asal Fotouhi Art History and Curatorial Studies USA Andreina Fuentes The Chill Concept USA Amareswar Galla Institute of the Inclusive Museum Australia Conrad Gershevitch Race Discrimination Unit Australia Andrew Gilkerson Columbia University USA Alexander (Sandy) Gilliland Australian Communication Exchange Australia Gail Gomez University of Illinois at Chicago USA Joshua Goode Claremont Graduate University USA Joshua Gorman Smithsonian Anacostia Community Museum USA Hilary Grant Government of Saskatchewan Canada Alyssa Greenberg University of Illinois at Chicago USA Katharina Greven Iwalewahaus Germany Toni Guglielmo Claremont Graduate University USA Laura Gutierrez Glasgow Museums UK Handan Guzelci Istanbul Kultur University Turkey Orkan Zeynel Guzelci Istanbul Kultur University Turkey Katherine Hauptman Government Offices of Sweden Sweden Kadi Hayet University of Sciences & Technology Mohamed Boudiaf Algeria Marlene Head Autry National Center of the American West USA Theresa D. Heflin Tarrant County College Northwest Campus USA Tom Hennes Thinc Design USA David Henry University of Melbourne Australia Robyn Hetrick Autry National Center of the American West USA Nic Hollinworth University of Reading UK Andrew Howe La Sierra University USA Susie Ironside Glasgow Museums UK Larisa Ivanova-Veen Moscow Architectural Institute Russian Federation Aleksandra Janus Jagiellonian University, Cracow Poland Susanne Krogh Jensen Furesø Museer Denmark Yin Cheng Jin The University of Queensland Australia Julie Maria Johnsen National Gallery of Denmark / Statens Museum for Kunst Denmark Brigitte Juanals University Paris Ouest Nanterre La Défense France Marie-Paule Jungblut Basel Historical Museum Switzerland Lise Kapper Odense City Museums Denmark Jen Kavanagh Science Museum UK Caroline Kim Autry National Center of the American West USA Rose Paquet Kinsley University of Washington USA Robert Kirschner Skirball Cultural Center USA Patrizia Koenig St. John's College UK Galia Kollectiv University of Reading UK Pil Kollectiv University of Reading UK Richard Kurin Smithsonian Institution USA An Laishun ICOM China China Jungwon Lee Myungji University USA
2014 Museum Conference 46 Stacy Lieberman Autry National Center of the American West USA Shuhua Lin National Taiwan Normal University Taiwan Tanya Lindkvist Sorø Kunstmuseum / Sorø Art Museum Denmark Henrik Lübker Odense City Museums Denmark Shannon Lyons Curtin University Australia Joy Malnar University of Illinois at Urbana-Champaign USA Galina Malyasova Moscow Architectural Institute Russian Federation Margit McGuire Seattle University USA Annelise Mehnert University of South Africa South Africa Shu Meng Macao University of Science and Technology Macao Special Administrative Region of China Magdalena Mieri Smithsonian Institution USA Rozhen Kamal Mohammed- University of Calgary Canada Amin Porchia Moore University of South Carolina USA Jennifer Orange University of Toronto Canada Kristin Otto DePauw University USA Sonju Park Culture City Planning & Management South Korea Marianna Pegno University of Arizona USA Juliana Pinto Inhotim Institute Brazil Todd Pittinsky SUNY Stony Brook USA Sharon Pittman Inclusive Exhibits USA Yannik Porsché Johannes Gutenberg University Mainz; Université de Bourgogne Germany Lara Portolés Universitat de Catalunya Spain Argüelles Liza Posas Braun Research Library USA Traci Quinn University of Arizona USA Natasha Reid University of Arizona USA Nicole Robert Queering the Museum Project USA Maja Rudloff University of Roskilde Denmark Virginia Scharff Autry National Center of the American West USA Amy Scott Autry National Center of the American West USA Rachel Shrock The University of Illinois at Chicago USA Nina Simon Santa Cruz Museum of Art & History USA Mette Skeel Nielsen Independent Denmark Margo Smith University of Virginia USA Pallavi Swaranjali Carleton University Canada Gina McDaniel Tarver Texas State University USA Seth Thompson American University of Sharjah United Arab Emirates Shelby Tisdale Autry National Center of the American West USA Pinar Uner Yilmaz University of Illinois at Chicago USA Adam Unwin Institute of Education, University of London UK Kadir Uyanik Science Institute Turkey Demelza van der Maas VU University Amsterdam Netherlands Alicia Viera Florida State University USA Frank Vodvarka Loyola University Chicago USA
47 2014 Museum Conference Kristen Anne Vogt International Museum of Surgical Sciences USA Ingalill Wahlroos- Woodbury University USA Ritter Georgina Walker The University of Melbourne Australia Steven Walsh Autry National Center of the American West USA Jennifer Warner Autry National Center of the American West USA W. Richard West, Jr. Autry National Center of the American West USA Sarah Wilson Autry National Center of the American West USA Aletheia Wittman The Incluseum USA Jing Yang University of Jyväskylä Finland Kate Zankowicz University of Toronto Canada Gerardo Zavarce The Chill Concept USA Ulrike Zitzlsperger Exeter University UK
2014 Museum Conference 48
A Social Knowledge Platform Create Your Academic Profile and Connect to Peers
Developed by our brilliant Common Ground software team, Scholar connects academic peers from around the world in a space that is modulated for serious discourse and the presentation of knowledge works.
Utilize Your Free Scholar Membership Today through • Building your academic profile and list of published works. • Joining a community with a thematic or disciplinary focus. • Establishing a new knowledge community relevant to your field. • Creating new academic work in our innovative publishing space. • Building a peer review network around your work or courses. Scholar Quick Start Guide
1. Navigate to http://cgscholar.com. Select [Sign Up] below ‘Create an Account’. 2. Enter a “blip” (a very brief one-sentence description of yourself). 3. Click on the “Find and join communities” link located under the YOUR COMMUNITIES heading (On the left hand navigation bar). 4. Search for a community to join or create your own. Scholar Next Steps – Build Your Academic Profile
• About: Include information about yourself, including a linked CV in the top, dark blue bar. • Interests: Create searchable information so others with similar interests can locate you. • Peers: Invite others to connect as a peer and keep up with their work. • Shares: Make your page a comprehensive portfolio of your work by adding publications in the Shares area - be these full text copies of works in cases where you have permission, or a link to a bookstore, library or publisher listing. If you choose Common Ground’s hybrid open access option, you may post the final version of your work here, available to anyone on the web if you select the ‘make my site public’ option. • Image: Add a photograph of yourself to this page; hover over the avatar and click the pencil/edit icon to select. • Publisher: All Common Ground community members have free access to our peer review space for their courses. Here they can arrange for students to write multimodal essays or reports in the Creator space (including image, video, audio, dataset or any other file), manage student peer review, co-ordinate assessments, and share students’ works by publishing them to the Community space.
49 2014 Museum Conference A Digital Learning Platform Use Scholar to Support Your Teaching
Scholar is a social knowledge platform that transforms the patterns of interaction in learning by putting students first, positioning them as knowledge producers instead of passive knowledge consumers. Scholar provides scaffolding to encourage making and sharing knowledge drawing from multiple sources rather than memorizing knowledge that has been presented to them.
Scholar also answers one of the most fundamental questions students and instructors have of their performance, "How am I doing?" Typical modes of assessment often answer this question either too late to matter or in a way that is not clear or comprehensive enough to meaningfully contribute to better performance.
A collaborative research and development project between Common Ground and the College of Education at the University of Illinois, Scholar contains a knowledge community space, a multimedia web writing space, a formative assessment environment that facilitates peer review, and a dashboard with aggregated machine and human formative and summative writing assessment data.
The following Scholar features are only available to Common Ground Knowledge Community members as part of their membership. Please email us at [email protected] if you would like the complimentary educator account that comes with participation in a Common Ground conference.
• Create projects for groups of students, involving draft, peer review, revision and publication. • Publish student works to each student’s personal portfolio space, accessible through the web for class discussion. • Create and distribute surveys. • Evaluate student work using a variety of measures in the assessment dashboard.
Scholar is a generation beyond learning management systems. It is what we term a Digital Learning Platform—it transforms learning by engaging students in powerfully horizontal ‘social knowledge’ relationships.
For more information, visit: http://knowledge.cgscholar.com.
2014 Museum Conference 50 NOTES
51 2014 Museum Conference NOTES
EIGHTH INTERNATIONAL CONFERENCE ON THE INCLUSIVE MUSEUM
‘MUSEUMS AS CIVIC SPACES’ CALL FOR PAPERS
7 – 9 August 2015
National Science Center of India New Delhi, India
CONFERENCE FOCUS Now entering its eighth edition, the 2015 conference will explore the Special Focus: ‘Museums as Civic Spaces’. This special focus is in addition to the general themes offered every year. The conference is built upon four key features: Internationalism, Interdisciplinarity, Inclusiveness, and Interaction. Conference delegates include leaders in the field as well as emerging artists and scholars, who travel to the conference from all corners of the globe and represent a broad range of disciplines and perspectives.
CALL FOR PAPERS AND CONFERENCE DETAILS To learn more about the conference, including speakers, session formats, venue, and registration visit the conference website at www.onmuseums.com/the-conference.
RETURNING MEMBER REGISTRATION RATE We are pleased to offer a Returning Member Registration Discount to delegates who have attended The Inclusive Museum Conference in the past. Returning community members will receive a discount off the full conference registration rate. Please visit the registration page for details at www.onmuseums.com/the-conference/registration.