Via the Smithsonian Institution, an exploration of the growing friction between the research and outreach functions of museums in the 21st century.
Describing participant observation and historical research at the Smithsonian's National Museum of Natural History as it prepared for its largest-ever exhibit renovation, Deep Time, the author provides a grounded perspective on the inner-workings of the world's largest natural history museum and the social processes of communicating science to the public.
From the introduction:
In exhibit projects, the tension plays out between curatorial staff--academic, research, or scientific staff charged with content--and exhibitions, public engagement, or educational staff--which I broadly group together as "audience advocates" charged with translating content for a broader public. I have heard Kirk Johnson, Sant Director of the NMNH, say many times that if you look at dinosaur halls at different museums across the country, you can see whether the curators or the exhibits staff has "won." At the American Museum of Natural History in New York, it was the curators. The hall is stark white and organized by phylogeny--or the evolutionary relationships of species--with simple, albeit long, text panels. At the Field Museum of Natural History in Chicago, Johnson will tell you, it was the "exhibits people." The hall is story driven and chronologically organized, full of big graphic prints, bold fonts, immersive and interactive spaces, and touchscreens. At the Denver Museum of Nature and Science, where Johnson had previously been vice president and chief curator, "we actually fought to a draw." That, he says, is the best outcome; a win on either side skews the final product too extremely in one direction or the other. This creative tension, when based on mutual respect, is often what makes good exhibitions.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Diana E. Marsh is an Assistant Professor of archives and digital curation at the University of Maryland's College of Information Studies (iSchool) who studies how heritage institutions share knowledge with communities and the public. Her current work focuses on improving discovery and access to colonially-held archives for Native American and Indigenous communities.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
Vendeur : GreatBookPrices, Columbia, MD, Etats-Unis
Etat : New. N° de réf. du vendeur 44774567-n
Quantité disponible : Plus de 20 disponibles
Vendeur : PBShop.store US, Wood Dale, IL, Etats-Unis
PAP. Etat : New. New Book. Shipped from UK. Established seller since 2000. N° de réf. du vendeur CX-9781800732018
Quantité disponible : 15 disponible(s)
Vendeur : PBShop.store UK, Fairford, GLOS, Royaume-Uni
PAP. Etat : New. New Book. Shipped from UK. Established seller since 2000. N° de réf. du vendeur CX-9781800732018
Quantité disponible : 15 disponible(s)
Vendeur : Rarewaves USA, HEBRON, KY, Etats-Unis
Paperback. Etat : New. Via the Smithsonian Institution, an exploration of the growing friction between the research and outreach functions of museums in the 21st century.Describing participant observation and historical research at the Smithsonian's National Museum of Natural History as it prepared for its largest-ever exhibit renovation, Deep Time, the author provides a grounded perspective on the inner-workings of the world's largest natural history museum and the social processes of communicating science to the public.From the introduction:In exhibit projects, the tension plays out between curatorial staff-academic, research, or scientific staff charged with content-and exhibitions, public engagement, or educational staff-which I broadly group together as "audience advocates" charged with translating content for a broader public. I have heard Kirk Johnson, Sant Director of the NMNH, say many times that if you look at dinosaur halls at different museums across the country, you can see whether the curators or the exhibits staff has "won." At the American Museum of Natural History in New York, it was the curators. The hall is stark white and organized by phylogeny-or the evolutionary relationships of species-with simple, albeit long, text panels. At the Field Museum of Natural History in Chicago, Johnson will tell you, it was the "exhibits people." The hall is story driven and chronologically organized, full of big graphic prints, bold fonts, immersive and interactive spaces, and touchscreens. At the Denver Museum of Nature and Science, where Johnson had previously been vice president and chief curator, "we actually fought to a draw." That, he says, is the best outcome; a win on either side skews the final product too extremely in one direction or the other. This creative tension, when based on mutual respect, is often what makes good exhibitions. N° de réf. du vendeur LU-9781800732018
Quantité disponible : Plus de 20 disponibles
Vendeur : GreatBookPrices, Columbia, MD, Etats-Unis
Etat : As New. Unread book in perfect condition. N° de réf. du vendeur 44774567
Quantité disponible : Plus de 20 disponibles
Vendeur : Rarewaves.com USA, London, LONDO, Royaume-Uni
Paperback. Etat : New. Via the Smithsonian Institution, an exploration of the growing friction between the research and outreach functions of museums in the 21st century.Describing participant observation and historical research at the Smithsonian's National Museum of Natural History as it prepared for its largest-ever exhibit renovation, Deep Time, the author provides a grounded perspective on the inner-workings of the world's largest natural history museum and the social processes of communicating science to the public.From the introduction:In exhibit projects, the tension plays out between curatorial staff-academic, research, or scientific staff charged with content-and exhibitions, public engagement, or educational staff-which I broadly group together as "audience advocates" charged with translating content for a broader public. I have heard Kirk Johnson, Sant Director of the NMNH, say many times that if you look at dinosaur halls at different museums across the country, you can see whether the curators or the exhibits staff has "won." At the American Museum of Natural History in New York, it was the curators. The hall is stark white and organized by phylogeny-or the evolutionary relationships of species-with simple, albeit long, text panels. At the Field Museum of Natural History in Chicago, Johnson will tell you, it was the "exhibits people." The hall is story driven and chronologically organized, full of big graphic prints, bold fonts, immersive and interactive spaces, and touchscreens. At the Denver Museum of Nature and Science, where Johnson had previously been vice president and chief curator, "we actually fought to a draw." That, he says, is the best outcome; a win on either side skews the final product too extremely in one direction or the other. This creative tension, when based on mutual respect, is often what makes good exhibitions. N° de réf. du vendeur LU-9781800732018
Quantité disponible : 11 disponible(s)
Vendeur : Grand Eagle Retail, Bensenville, IL, Etats-Unis
Paperback. Etat : new. Paperback. Via the Smithsonian Institution, an exploration of the growing friction between the research and outreach functions of museums in the 21st century.Describing participant observation and historical research at the Smithsonians National Museum of Natural History as it prepared for its largest-ever exhibit renovation, Deep Time, the author provides a grounded perspective on the inner-workings of the worlds largest natural history museum and the social processes of communicating science to the public.From the introduction:In exhibit projects, the tension plays out between curatorial staffacademic, research, or scientific staff charged with contentand exhibitions, public engagement, or educational staffwhich I broadly group together as audience advocates charged with translating content for a broader public. I have heard Kirk Johnson, Sant Director of the NMNH, say many times that if you look at dinosaur halls at different museums across the country, you can see whether the curators or the exhibits staff has won. At the American Museum of Natural History in New York, it was the curators. The hall is stark white and organized by phylogenyor the evolutionary relationships of specieswith simple, albeit long, text panels. At the Field Museum of Natural History in Chicago, Johnson will tell you, it was the exhibits people. The hall is story driven and chronologically organized, full of big graphic prints, bold fonts, immersive and interactive spaces, and touchscreens. At the Denver Museum of Nature and Science, where Johnson had previously been vice president and chief curator, we actually fought to a draw. That, he says, is the best outcome; a win on either side skews the final product too extremely in one direction or the other. This creative tension, when based on mutual respect, is often what makes good exhibitions. Extinct Monsters to Deep Time is an ethnography that documents the growing friction between the research and outreach functions of the museum in the 21st century. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9781800732018
Quantité disponible : 1 disponible(s)
Vendeur : THE SAINT BOOKSTORE, Southport, Royaume-Uni
Paperback / softback. Etat : New. New copy - Usually dispatched within 4 working days. N° de réf. du vendeur B9781800732018
Quantité disponible : 17 disponible(s)
Vendeur : GreatBookPricesUK, Woodford Green, Royaume-Uni
Etat : New. N° de réf. du vendeur 44774567-n
Quantité disponible : Plus de 20 disponibles
Vendeur : Majestic Books, Hounslow, Royaume-Uni
Etat : New. Print on Demand. N° de réf. du vendeur 401190730
Quantité disponible : 4 disponible(s)