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Photo Essay

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BC: References Ballestrem, A., Bridgland, J. von Imhoff, Isar, R., H.C., McMillan, E., and Perrot, P.N. (1978-1984). The Conservator-Restorer: a Definition of the Procession. Retrieved from Bearman, D. (1990). Chapter 1: Membership, development & participation functions. In Functional requirements for membership, development & participation systems, Archives and Museum Informatics Technical Report. Retrieved from Glaser, J.R., & Zenetou, A.A. (1996). Museums: A place to work, planning museum careers. New York, NY: Routledge. Lila Wallace-Reader's Digest Fund (2001). Investing in staff to improve visitor services. In Service to people: Challenges and rewards. Retrieved from Lord, G. (1990). Introductions: The role of memberships and development in museums. In Bearman, D., Functional requirements for membership, development & participation systems, Archives and Museum Informatics Technical Report. Retrieved from Mann, G. (2008, December 12). Interview with Griffith Man [MP3 File] Retrieved from Moseley, Caroline. (1998, January 12) Gatekeeper of the art museum Princeton Weekly Bulletin. Retrieved from Schlatter, N.E. (2008). Museum careers: A practical guide for students and novices. Walnut Creek, CA: Left Coast Press.

FC: Minneapolis Institute of Arts Minneapolis, Minnesota

1: Claire Berge Exploring Museum Professions October 31, 2012

2: "It's not just the collection, but the people who work in a museum that shape its image and reputation and influence the visitor's experience" (Lila Wallace-Reader's Digest Fund, 2001, p. 35)

3: The Minneapolis Institute of Art is an admission-free museum with a large volunteer base. The visitor information desk (pictured left) is the control center for the MIA's vast array of visitor services, including audio tours, group activities, and exhibition guides (Schlatter, 2006, p.94), and is adjacent to the museum shop and family center. | Tour brochure | Museum shop

4: "You could say I'm the gatekeeper of the museum, keeping track of what comes into our building and what goes out" (Moseley, 1998, p. 1).

5: Museum registrars and collections managers work closely with curators and exhibition developers to identify objects best suited for a particular exhibition. They also collaborate with Museum Information Professionals to utilize the software necessary to manage all data related to the collection. | Visitors can use this information station to explore the museum's collection

6: Conservator-Restorers examine, preserve, and restore cultural property (Ballestrem, Bridgland, von Imhoff, McMillan and Perot, 1978-84). This 'temporary removal' sign indicates that the object is currently undergoing routine cleaning.

8: "The Chief Curator and the curator work together on the ideation of exhibitions, in concert with other people from [...] education, marketing, and design" Griffith Mann, Cleveland Museum of Art Chief Curator

9: This short-term exhibition provides an in-depth look at one of the museum's newest acquisition and reflects the curator's concept, research and interpretation of Albrecht Durer's famous piece. It's also a manifestation of the exhibition team's work, which "translates conceptual ideas into concrete form for the production of permanent, temporary, or traveling exhibitions" (Glaser 94). The special exhibit is also a result of multiple financial contributions and fundraising campaigns, which falls under the domain of the development department.

10: Interactive Learning Station | As technology has transformed the means through which information is transmitted and digested, competition for 21st century audiences is growing and museums must find new ways of engaging audiences. Multimedia specialists work with museum educators to provide innovative ways of engaging visitors, like the MIA's use of this iPad (pictured right).

12: In addition to its multimedia offerings, the MIA offers more than just the traditional educational experiences (although these are available and a docent-led tour is pictured left). Family-friendly tours and an interview with the curator are also provided. | Smart-phone enabled interviews with curators about selected pieces | Family Gallery Hunt

13: "Docents [...] are in effect the 'voices' of the museum [...] Their function is to serve as catalysts in the interaction between object and observer" (Glaser, 1996, p. 89)

15: In an effort to present modern art while also providing access to the MIA's vast collection of historical pieces, the museum launched Art ReMix. Its goal is to provide visitors with new perspectives on the museum's diverse collections, and requires collaboration among today's artists and the MIA's curatorial department.

16: "The membership program is seen as the basis of the museum's development or fundraising strategy" (Lord, 1990, p. 1)

17: Signs advertising museum membership are located throughout visitor service areas (including the restroom). Selling museum membership is an active process depending "both on attractive content (programs and products) and marketing" (Bearnman, 1990, p. 11). | Membership brochure

19: Combining the efforts and responsibilities of the marketing, development and special events teams, the MIA's Third Thursday events seek to raise attendance and increase museum awareness.

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  • By: Claire B.
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