Visitor-Centered Exhibition Design: A paradigm Shift for Art Museums
Silvia Filippini-Fantoni @silviaff20 @imamuseum Director of Interpretation, Media, and Evaluation
The Collection
User-centred Approach
Visitor-Centered Approach
Process: •New exhibition development
process
Participation: •Participatory in-gallery
experiences
Programming: • Innovative participatory and
experiential programs
Visitor-oriented approach
New Exhibition Development Model
•Non-Art Museums
•Detroit Institute of Art
•Oakland Museum of California
•Denver Art Museum
•Brooklyn Museum
Inspiration
Old Model: all decisions were made by curators New Model: interdisciplinary core team is created at the start and makes all decisions. It includes: • curator • interpretation specialist • evaluator • designer • exhibition manager
Curator
Layout
Content
Idea
Checklist
Other Inter. tools
Public Programs
Old Model
New Model
Big idea: the core team identifies the main thesis and learning outcomes
These are used to inform: • Checklist • Layout • Title • Interpretive plan • Content • Evaluation
Testing: incorporate testing and evaluation throughout the process
Research and Evaluation team: • Manager • 1 part-time staff • 3 or 4 data collectors • 1 or 2 contractors
Rome wasn’t build in a day!
New director
Methods
n=576
21% 21%
27%
31%
0%
5%
10%
15%
20%
25%
30%
35%
Art DecoAutomobiles
Duesenbergs AutomobileMasterpieces
Concept Cars
Front-End: Automobile Design
Formative: Gustave Baumann
Design Thinking Workshop
Prototype Testing
Visual Identity Testing
Option 1 Option 2
Option 3
Title Testing
Paintings in the Round • Round room (12) • Round objects (8) • Paintings of round objects (7) • Music round (5) • Circular paintings, round canvas
(4) • Architecture (2) • Theatre (2) • Abstract/Geometric Art (3) • Panorama (2) • Other (5) On the Flipside: Secrets on the Back of Paintings
Remedial Evaluation: Dream Cars
Summative: Exhibition Evaluations
•Have learning outcomes been met? •Are visitors satisfied with their
experience? •How do they engage with the art
and interpretive tools? •What problems do visitors
encounter? •Who visited the exhibition
(demographics & psychographics)?
0%
10%
20%
30%
40%
50%
60%
70%
1 2 3 4 5 6 7 8
% U
sage
of
Exh
ibit
ion
Ele
me
nts
Gallery #
Extended Labels Simple Labels ArtworksObservations
Results
Before
After
Less Text More Visuals
Experiment with Text
Multisensory experiences
Provide More Active Experiences
Old Method Engagement Framework
Multiple Platforms
Personal Connections
Stimulate Creativity
Higher Visitors’ Satisfaction
BEAUTY & BELIEF AI WEIWEI INDIANA FACE TO
FACE O’KEEFFE
Learning Outcome 1 73% 87% 97% 93% 90%
Learning Outcome 2 67% 77% 86% 83% 80%
Learning Outcome 3 67% 53% 79% 63% 57%
Learning Outcome 4 60% 47% 79% 50% 57%
Learning Outcome 5 47% 40% 62% 37% 53%
Learning Outcome 6 40% 40% 34% 33% 33%
Learning Outcome 7 30% 30% 24% 20% 30%
Learning Outcome 8 23% 27%
Old Model New Model
Better Communication of Key Messages
Higher Usage of Interpretative Tools
30-50% 40-60%
46% 60%
Successful Participatory Projects
40%
60% 24%
23%
Challenges
• Resistance mostly from
curatorial staff • Resistance from other
institutions • Process is more time-
consuming (planning is two years out)
• Process is more contentious
(Who directs the process? Conflict vs. Creativity)
Next Steps • Involve designers and curators more frequently in the testing process
• Implement strategies to help members of the core team work better together.
•Extend the model to permanent collection and contemporary exhibitions
•Understand consequences of new admission model
