participatory exhibition design
DESCRIPTION
TRANSCRIPT
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Participatory Exhibition Design:Inviting Visitors to Be Part of the Process
Silvia Filippini Fantoni, Indianapolis Museum of Art
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The Collection
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User-centred Approach
Visitor-Centered Approach
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New Exhibition Development Process
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• Non-art Museums• Detroit Institute of
Art• Oakland Museum of
California• Denver Art Museum• Brooklyn Museum
Inspiration
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Principles
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Curator
Layout with
Designer
Content
Idea
Checklist
Other Inter. tools
Public Programs
The Old Exhibition Development Model
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• Interdisciplinary core team is created at the start
• Core team includes:• Curator(s)• Interpretation
specialist• Evaluator• Designer• Project Manager
1. Process is more collaborative
Core team
Layout
Content
Idea
Checklist
Other Inter. tools
Public Program
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2. Interpretation Specialist Plays a Key Role
• They represent the visitors’ needs at the core team table
• They lead the development process
• They ensure that learning theories are applied
• They are involved in the content development process
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3. Identify Big Idea and Outcomes
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The landscapes and rich cultural traditions of the Southwest fueled the imaginations of early 20th century artists like Georgia O’Keeffe.
The evocative still life paintings produced by these artists provide a fascinating example of art’s capacity to document the essence of a place.
Big Idea
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Learning Outcomes
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• The Southwest art scene: Visitors will learn about the early 20th century phenomenon of artists visiting the Southwest
• Defining still life: Visitors will expand their understanding of what a still-life is and what it can convey.
• Creativity: Visitors will be able to express their creativity using the works in the exhibition or elements of Southwestern culture to create their own still lifes.
• Attitude: Visitors will develop a positive attitude toward the museum as a place to explore their creative impulses as well as a place to learn about different cultures.
Learning Outcomes
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• Big Idea and Learning Outcomes are used to:• Create Interpretive plan• Develop interpretive
material and experiences• Inform exhibition
structure and layout• Finalize checklist• Support exhibition
planning by staff• Evaluate the success of
the show
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4. Incorporate testing and evaluation throughout the process
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Methods
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n=576
Art Deco Automobiles Duesenbergs Automobile Masterpieces Concept Cars0%
5%
10%
15%
20%
25%
30%
35%
21% 21%
27%
31%
Front-End: Automobile Design
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Formative: Robert Indiana
Visitors’ interests:
• Artist’s life (30/40)• Inspiration (30/40)• Process/technique
(26/40)• Artist’s or other’s
explanation about the meaning behind the work (7/40)
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Formative: Star Studio
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Design Thinking Workshop
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Visual Identity Testing
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Summative: Exhibition Evaluations
• Assess if learning outcomes have been met
• Assess if expectations regarding level of satisfaction, and use of interpretive tools have been met
• Identify problems that might be addressed in future exhibitions
• Audience demographics & psychographics
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Results
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Before
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After
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Better integration and usage of interpretative tools in the exhibition
30-50% 40-60%
46%60%
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Successful implementation of participatory projects
40%
60%24%
4,000
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Increased visitors attendance
• 44,000 ca. visitors in 2012-2013
• 81,000 ca. visitors in 2013-2014
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Increased Satisfaction Level
• Snapshot: 4.49/5• Beauty &
Belief:4.62/5• Ai Weiwei: 4.68/5• Matisse: 4.73/5• Robert Indiana:
4.73/5• Face to Faces:
4.80/5
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Outcomes Beauty & Belief Robert Indiana
1 73% 97%2 67% 86%3 67% 79%4 60% 79%5 47% 62%6 40% 34%7 30% 24%8 23%
Key Messages are Communicated more Effectively
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• Resistance mostly from curatorial staff
• Resistance from other institutions that are not willing to modify their shows
• More time-consuming
• More contentious
Challenges
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• Refine the process• Extend it to non-paid
exhibitions and permanent collection
• How do we apply the process to non-traditional exhibitions?
Next Steps