by guest columnist Brian Miskell Students in this year’s Exhibition Planning class were given a challenge: choose an image that inspires you from the photographs in Historic New England’s exhibition, “The Camera’s Coast,” and use it as a jumping-off point for a full-blown exhibition plan. Snapshots: …
by guest columnist Amanda Breen Students in this year’s Exhibition Planning class were given a challenge: choose an image that inspires you from the photographs in Historic New England’s exhibition, “The Camera’s Coast,” and use it as a jumping-off point for a full-blown exhibition plan. …
by guest columnist Barbara Palmer
Students in this year’s Exhibition Planning class were given a challenge: choose an image that inspires you from the photographs in Historic New England’s exhibition, “The Camera’s Coast,” and use it as a jumping-off point for a full-blown exhibition plan. Snapshots: 15 Takes on an Exhibition is to take place at the Tufts University Koppleman Gallery May 6-18, 2014. Opening reception Tuesday, May 6, 2014, 5:30-8pm. See the Facebook page here.
By now, you’ve probably heard that this year’s Exhibition Planning course is trying something new. Instead of curating an exhibition as a group with a set collection as in previous years, each class member is developing a proposal for an individual exhibition, with one object from a shared collection as a touchstone.
As my exhibition idea, titled, “Open Water: Women’s Swimwear and the Fight to Compete,” has grown throughout the semester, I’ve realized that developing ideas on your own can lead to feeling stuck in your own silo (or, “column of excellence,” an alternative moniker I’ve heard lately lately). Developing an entire exhibit solo not only lends a powerful feeling of freedom in making decisions without compromise or consequence, but can alternatively leave one feeling a bit alone in the planning too. In our future museum careers, the process of exhibit design collaboration in which we may be participating won’t come without a team in some way, shape, or form, so I’ve appreciated the opportunities both given and sought out to collaborate with others.
by guest columnist Sarah McDonough Students in this year’s Exhibition Planning class were given a challenge: choose an image that inspires you from the photographs in Historic New England’s exhibition, “The Camera’s Coast,” and use it as a jumping-off point for a full-blown exhibition plan. …
by guest columnist Catherine Shortliffe Students in this year’s Exhibition Planning class were given a challenge: choose an image that inspires you from the photographs in Historic New England’s exhibition, “The Camera’s Coast,” and use it as a jumping-off point for a full-blown exhibition plan. …
by columnist Tegan Kehoe
A couple weeks ago, I was a part of Boston’s first History Camp, an “unconference” that was organized by volunteers and a wiki. One of the panels was on means of publishing for history books, and Boston historian J. L. Bell made point I think applies just as well to museums. He said that people — particularly writers — are used to thinking of publishing houses as the gatekeepers: people who control what gets inside, people who has to please, appease, or even depend on the whims of. With e-books, inexpensive self-publishing and other text formats flooding the market, he proposed, it makes just as much sense to think of gatekeepers (whether they are publishers, reviewers, or others) as ushering readers in through open gates, helping them find what’s good and what suits their tastes. I think the same metaphor can be used to talk about museums as gatekeepers of knowledge, stories, and images or artifacts.