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Visitor-Centered Exhibitions and Edu-Curation in Art Museums promotes balanced practices that are visitor-centered while honoring the integrity and powerful storytelling of art objects. Book examples present best practices that move beyond the turning point, where curation and education are engaged in full and equal collaboration. With a mix of theory and models for practice, the book: . provides a rationale for visitor-centered exhibitions; . addresses important related issues, such as collaboration and evaluation; and, . presents success stories written by educators, curators, and professors…mehr
Visitor-Centered Exhibitions and Edu-Curation in Art Museums promotes balanced practices that are visitor-centered while honoring the integrity and powerful storytelling of art objects. Book examples present best practices that move beyond the turning point, where curation and education are engaged in full and equal collaboration. With a mix of theory and models for practice, the book: . provides a rationale for visitor-centered exhibitions; . addresses important related issues, such as collaboration and evaluation; and, . presents success stories written by educators, curators, and professors from the United States and Europe. . introduces the edu-curator, a new vision for leadership in museums with visitor-centered exhibition practices. The book is intended for art museum practitioners, including educators, curators, and exhibitions designers, as well as higher education faculty and students in art/museum education, art history, and museum studies.
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Autorenporträt
Pat Villeneuve is professor and director of arts administration in the Department of Art Education, Florida State University, where she has developed graduate programs in museum education and visitor-centered exhibitions. Pat is editor of the book From Periphery to Center: Art Museum Education in the 21st Century and recipient of the National Art Education Association national museum educator of the year award in 2009. She has published and presented extensively nationally and internationally and has developed supported interpretation, a model for visitor-centered exhibitions. Ann Rowson Love is the coordinating faculty member for the museum education and visitor-centered exhibitions program in the Department of Art Education at Florida State University. She is also faculty liaison to The Ringling. Ann has been a museum educator, curator, and administrator for over 25 years. She presents and publishes widely on curatorial collaboration, visitor studies, and art museum interpretation.
Inhaltsangabe
Foreword by Kaywin Feldman Preface Acknowledgements Part I. Foundations: The Need for Edu-Curation 1. From There to Here: In Support of Visitor-Centered Exhibitions Pat Villeneuve 2. Edu-Curation and the Edu-Curator Ann Rowson Love and Pat Villeneuve 3. Rethinking Curator/Educator Training and Interaction in the Co-Production of Art Museum Exhibitions Brian Hogarth Part II. Readiness: Structuring Your Approach 4. From Consultation to Collaboration: Mechanisms for Integrating Community Voices into Exhibition Development Judith Koke and Keri Ryan 5. Dynamic Moments: Testing High-Engagement Visitor Experiences at the Asian Art Museum of San Francisco Maia Werner-Avidon, Deborah Clearwaters and Dany Chan 6. Cu-Rate: Starting Curatorial Collaboration with Evaluation Ann Rowson Love 7. Aligning Authority with Responsibility for Interpretation Kathryn E. Blake, Jerry N. Smith and Christian Adame Part III. Collaboration in Action 8. Beyond the Gate: Collaborating with Living Artists to Bring Communities into the Museum and the Museum into Communities Maureen Thomas-Zaremba and Matthew McLendon 9. Collaboration Within and Outside the Museum: Student-Written Labels in a Featured Exhibition at the Nelson-Atkins Museum of Art Rosie Riordan and Stephanie Fox Knappe 10. Supported Interpretation: Building a Visitor-Centered Exhibition Model Pat Villeneuve 11. The Absolute Resolution Photography Exhibition: Facilitating Visitor Engagement with Supported Interpretation (SI) Alicia Viera, Carla Ellard and Kathy Vargas 12. Visitor as Activist: A Mobile Social Justice Museum's Call for Critical Visitor Engagement Monica O. Montgomery and Hannah Heller Part IV. Seeing Inside the Process 13. Multivocal, Collaborative Practices in Community-Based Art Museum Exhibitions Marianna Pegno and Chelsea Farrar 14. For the Use of Art Astrid Cats 15. Philosophical Inquiry: A Tool for Decision Making in Participatory Curation Trish Scott, Ayisha de Lanerolle, Karen Eslea and individual participants 16. Teaching Visitor-Centered Exhibitions: A Duoethnography of Two Team Members Ann Rowson Love and John Jay Boda Part V. Sustaining Engaged Organizational Learning 17. Complementary: Reflections on Curator-Educator Teamwork at the Denver Art Museum Stefania Van Dyke 18. Building a Workplace That Supports Educator - Curator Collaboration Jennifer Wild Czajkowski and Salvador Salort-Pons 19. Visitor-Centered Exhibition Design: Theory into Practice Elizabeth K. Eder, Andrew Pekarik and Zeynep Simavi About the Editors and Contributors Index
Foreword by Kaywin Feldman Preface Acknowledgements Part I. Foundations: The Need for Edu-Curation 1. From There to Here: In Support of Visitor-Centered Exhibitions Pat Villeneuve 2. Edu-Curation and the Edu-Curator Ann Rowson Love and Pat Villeneuve 3. Rethinking Curator/Educator Training and Interaction in the Co-Production of Art Museum Exhibitions Brian Hogarth Part II. Readiness: Structuring Your Approach 4. From Consultation to Collaboration: Mechanisms for Integrating Community Voices into Exhibition Development Judith Koke and Keri Ryan 5. Dynamic Moments: Testing High-Engagement Visitor Experiences at the Asian Art Museum of San Francisco Maia Werner-Avidon, Deborah Clearwaters and Dany Chan 6. Cu-Rate: Starting Curatorial Collaboration with Evaluation Ann Rowson Love 7. Aligning Authority with Responsibility for Interpretation Kathryn E. Blake, Jerry N. Smith and Christian Adame Part III. Collaboration in Action 8. Beyond the Gate: Collaborating with Living Artists to Bring Communities into the Museum and the Museum into Communities Maureen Thomas-Zaremba and Matthew McLendon 9. Collaboration Within and Outside the Museum: Student-Written Labels in a Featured Exhibition at the Nelson-Atkins Museum of Art Rosie Riordan and Stephanie Fox Knappe 10. Supported Interpretation: Building a Visitor-Centered Exhibition Model Pat Villeneuve 11. The Absolute Resolution Photography Exhibition: Facilitating Visitor Engagement with Supported Interpretation (SI) Alicia Viera, Carla Ellard and Kathy Vargas 12. Visitor as Activist: A Mobile Social Justice Museum's Call for Critical Visitor Engagement Monica O. Montgomery and Hannah Heller Part IV. Seeing Inside the Process 13. Multivocal, Collaborative Practices in Community-Based Art Museum Exhibitions Marianna Pegno and Chelsea Farrar 14. For the Use of Art Astrid Cats 15. Philosophical Inquiry: A Tool for Decision Making in Participatory Curation Trish Scott, Ayisha de Lanerolle, Karen Eslea and individual participants 16. Teaching Visitor-Centered Exhibitions: A Duoethnography of Two Team Members Ann Rowson Love and John Jay Boda Part V. Sustaining Engaged Organizational Learning 17. Complementary: Reflections on Curator-Educator Teamwork at the Denver Art Museum Stefania Van Dyke 18. Building a Workplace That Supports Educator - Curator Collaboration Jennifer Wild Czajkowski and Salvador Salort-Pons 19. Visitor-Centered Exhibition Design: Theory into Practice Elizabeth K. Eder, Andrew Pekarik and Zeynep Simavi About the Editors and Contributors Index
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