Extinct Monsters to Deep Time : Conflict, Compromise, and the Making of Smithsonian's Fossil Halls

Diana E Marsh

ISBN 10: 1789201225 / ISBN 13: 9781789201222

Edité par Berghahn Books, 2019

A propos de cet article

Zustand: Hervorragend | Seiten: 334 | Sprache: Englisch | Produktart: Bücher | 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 33049103/1

Détails bibliographiques

• Titre: Extinct Monsters to Deep Time : Conflict, Compromise, and the Making of Smithsonian's Fossil Halls
• Éditeur: Berghahn Books
• Date de parution: 2019
• Langue: anglais
• ISBN à 10 chiffres: 1789201225
• ISBN à 13 chiffres: 9781789201222
• Reliure: Couverture rigide
• État de l'article: Hervorragend
• Catalogues du vendeur:
  • Bücher

A propos de ce titre

Synopsis

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.

À propos de l'auteur

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.