6. Types of museum exhibitions 1 1800, a1 the fist Annual General Metng of the Museums Assocation, the president, the Rev. Henry H. Haggis (1850), im his presen ‘aden sai “The condsion cant be ar awan—that the highest ai of work in Plc Mescum ie nothoweverngenotyio mulpy facts the means Of ‘store but to Kind nthe ear the wonder and he twin sept ‘THE NEW KSOWLEDGE™caled forby ery page the ems ace “This romantic notion of the aim of « muscum exhibition is but one of mang’ which, over the years, have been put forward to support oF Chere a paticula approach tothe presentation andor interpretation ‘ot objects, For exhibitions, in addition to being categorie by mode (a8 {ne previous chapier, nay also be diinguished by type. Whereas the ‘ode feltes to saps of the exhibitions longevity and location, type Concemed with the concept of the exhibition andthe response 18 fntended oli from i atcnce Thinnest acharacer which night bbe described in one of three ways—emotve, didactic or entertaining ‘These etgoris are not of course mutually exclusive and an exhibition say well compris elements of rach, led ght be argued that ll ‘hibition, almost by definition, are educational and contain elements tic are didactic. It might also be hoped that all would atleast be htetaining. In the cieumstances iis unfortnate but not supe that a word has been devised (by the Americans) to cover the dua fenclonsedutainwent” "Neverthe, the three broad dewriptions do relate o particular pes ‘of exhibition” Some cbjcte obviously lend themaclver more 10" One Sppvoach thun another TraiGonally an objects. parilay paintings, hve formed the mainstay of the type of emotive exhibition which Is termed aesthetie The elec an at object has on Hs audience i cealy an ‘notional one (Read 193: ch. 4) and because of this palangs have tended to be presented in a particular way. They have been hung sell together with discret abel which provides minimal information, Tite orn attempt being made interpret he abject in the bei that as an art object. the work should speak for tell Conversely, there as been 2 recognition that the abstact concepts af cence need explaining, How thangs work in terms of processes and eycles—whether technologie ike “Types of cum ehibiins »” steam engine or biological ike photosynthesis—are difficult wo under- ‘apd by simply looking at the relevant objec and so. imterpretve ‘atrial is gencrally provided. But, of course. it all depends om he ‘menage o be communicate, where the emphasis tobe placed and the ‘spore required of the audience, forthe techniques, imagery oF comcept ‘fa painting cam alo be explained (and oem ed to be) ands object Such asa steam engine may have as much esthetic appeal as many traditional ‘art object ‘Setting asde traditions iis posible for vitally any objet to be the subject 8Can exhibition conctved in one of the thee main character {yes I ll be foe thowe who write the bra, in conjunction wth the ‘tigner who has the tak of providing the solution, to decide what ‘dharacer type, or character types, any given exhibition will hae. This ‘ecaton mint toa ceran exen, aie rom chicl perceptions relating to the way in which the munca collections are used nd the changes that ae (0 be brought about inthe vision should, of course relate to ‘museum policy. Over dhe years, dierent people at diferent nes ave hha their own perceptions of what muscume should be doing and in this context it worth mentioning that most opinions ave based on the Ings inecenthscentury premise that the acquisition of Knowledge ‘through education ts morally good and beneficial. This is education sn {ts broadest sense summed up by D-A- Allen (1940), then Director of tae Royal Scottish Museum, n a emarkablypercepese paper hich he gave to the Royal Society of Ats, London om 29 May 140: {ethey ean be nether prone maintained, nore without Elation ihe pcpeston te ving. welt rng poi Uc ood ed cp Itt aims at understanding aspect lean vo he application ol Tle’ iow 9f rovers, cetraces, rather ike Higyie all exhibition types, and nor just the didactic Emotive exhibitions Exhibitions which are designed and produced with the itenion of having an sflect on the emotions of the sioner ae termed emotive Broadly they fall nto two types the aesthetic andthe rvocatio, the former concerned with the elect a confrontation with an object of beauty ‘Gin have onthe viewer, and the latter with romantic Aesthetic exhibitions aiden ctor ofthe National Museum of Eulogy at in the Netherlands, considered that the aeubetic approachfraps and ote epee si chee ay eae realy Rape Sabherten and dere Fiininon, ore od inno way compa with he oem She design of he presentation, the eabitin evitonment and alte omponcot comple wath the stn dan see ambiance berated The edhe: main type of emotive exhibition is the evocative or romantic, ‘which isabout arousing emonionsin thewistorby creating an mosphere “Typo meu exhib a ‘and possibly a eatical syle of presentation. Dr. Pot (19686) said of the Fomanti’ approach that i Pot’ reference to the presence of the human figure is worthy of note ‘The human factor i tmportant in that i forms the bridge between the viewer and the cen viewed. People identify with other people, wherever land whenever they were ot ae, whether its people in England relating {o prople in Afric, or people tay relating to people in Roman times find tsi particulaly true they are doing the everyday thingy a ie Sieh as eating, working or playing. These activities ke on a particularly Inaman interest This romantic approach assumes tht i it benelcil (God indeed often pleasurable) 10 share human experiences Tt sgt that although societies differ in respect oftheir cultural background and ithouah hey chang hy cole ile elatively state the seme ‘that people change very However, the actual presence of igure, help though it mayb, sno sbeolnely cacti, fr the visor with imagination ean stl transport Fim neo a scene—ancter place oF the wale comet. The fle modlled, recenttracted environment disiniabes a direc. Ne Felice at dee el ak ye el etived, but once eduction ccurs an uneasy leling i created inthe ‘ewer std diabelie sets in which affect the quality ofthe experience “The mos succesful evocative exhibitions, therefore, tend tobe those Which teeate 4 ual environment. While a peepshow’ approach will Tave some sucess (asin heat}, by Lat the mont elective appro is the fall open diorama which allows the vst to ener and Become pat ‘ofthe ste: This approach has been underaken with particular sucess fa cums such at Milwaukee Public Musetrs in Wiscncin, which Pioneered this style of exhibition. Ii also an approach which has seen m Britain with such theatrical cea the Imperial ‘War Museum, London. These specifically aim to take visitor back time dough’ a form of presentation whch has is origins sa the ol tableau, which often incorporsted wax’ figures "Today. with sophinicated animation techniques, thet sorte of pis Silent and static are now capable of being etremely false Movement tmay be iotrodaced wo the figures, and the whole production may be ‘xtremly authentic, event the inclusion of eal objects This may even ‘rach the point of being eoafusing forthe visitor who, awate Of the Tmake belie concept ann distin what is fae. Marpare@ < Mma exhib ee oe i Didactic exhibitions ate intended 1 impart information are generally “Tes sm sto istrct aa to eucate. They encourage To engage in a learning. if not thinking, process where Intclecial simulation is important. Cilman (118) provided an apt interpretation of education in a museum context when he said that 1k comeys the ger idea of 4 mafication of personality in te sees, ich may be eed rxpeciey owe «band ad ama see Inthe ‘itt elucaton se ymomomous wi infant the bond tense with ‘rmpronement ain the aro se ith thing Although, ass ben suggested, al exhibitions are broadly educational, ‘haacterscally, 4 didactic exhibition, the instructional ad edu ‘ional funcione ate not left dhe objects chemaelves but ae undertaken by the interpretive med ‘Dana (1827) wrote, Objectare silent. They must ell about themselves their origin, purpose, their elative positions in the development oftheir Lind and countess other details though labels, guides and catalogues” [Not everyone. would agiee that objects ae sent Carneron (1958) ‘Consider that "Phe mutcum ava communications system depends ‘on the non-verbal language of objects and observable phenomena 18 Primarily visual ngage and at Gime an aural or tactile language’ “However, even Cameron (1968) noted that this preset Apparent underestimation of the importance ofthe aid’ to communi ‘ition was ened upon by Kner and Wr Cameron's view, commented: ‘employs such supplementary means as diagrams, maps, photog ST'oU rik st nnrones wah he catily seed ero eee Honea sisting mse By hans of desig ad at shill he impact “tamed Dv, Cameron has yo meas ered these veal F coun ‘jn ba he seed them to 2 morale, This may be sen to ake the argument back to Brown Goode thought an efficent educational museum wat 'a collection labels cach illustrated by 2 welFeclectedspecieen’, def today, could be applied to's thematicanle exhibition. However, tone $ecepis thatthe visual language ofthe objects themseves snot enugh provide an explanation of what they mean, then it follows that ats © Understanding are neceay and hat she langage secrets coma “Typo mau exhib a inthe objects need interpreting. This mixture of objets, ext and other interpretive sds has often been Likened to three-dimenstonal e390 ‘ook, whose prime function is wo inform and edueate "en a brit discussion of didactic exhibitions would not be complete ‘without reference othe work and intrest in educational exhibitions and Their ellectivenes shown by 3 group of esate ‘work, begust inthe 196s, has had. widespread ‘onecrne with the development of new exhibitions. In particu ‘work of Shetel, Screven, Nicol and Borun has advanced our knowledge ‘ofthe behaviour of store when controned by educational exh ‘And. many of the ideas contained inthe inial recarch of these the USA Gore paper “The Messurement and Facliation of Learning tn the ‘Museum Environment Init many pertinent ees in elation to finding ‘ut how the museum visitor lems and what devices canbe we Yo make the experience more meaningful are discussed 1 details the use of Insructional technology in museums, sid pois the way forward (oF ‘more racatch- From the various studies undertaken, the application of the principles of eiucational technology to the museum situation becomes apparent, land the typical stages in the preparation of an educational exhibit ae 1, Sue the objets ofthe exon, aly a measurable wes I Las he ares of tee peor to ene 5 Analyse he earning a or ese ofthe exiition 4 Devgn the instructional sequences addict material 5: Teste deg wah representa stor group mpl 6 Mati and pred However those who seek a wholly effective educ ‘ahibisons are mot without ther crits, ded, 90 they overlook the fact that 4 large ional technology for re woud are at mer of visitors do no eter io larg. They want tse ‘bjets ad there ss marked tendency sn the educational ecologiet declare the traditional strength of museums, ie. the abject, redundant land to replace them with weaching machines, Pathaps the lat word on this topic should go to Professor Jacques Barzun (1860), who, when participating ina seminar held in New V Having lst religion a8 a means of sving ou igh, we have subsite briacy—same as that of thrusting religion ‘The twentieth century is comm {edtocdncaton, and tha ello motte ceo ur unhappnes ard ‘Sepa for education ithe wor game chance ve nesteda 2 ees ae — Sete nan mama ra at he | i thier ara eon tu be ype the eran Sater % | Eepenaty tes doreting eee Clg etercieter | Enemies id See tae tate n'a ann wal ee ssc exhibitions | Misc aac are chanel with pons fon rex fo |ctishng se de cae offers and oye att comin | that the unk of interpretation should: be the same professional standards and have broadly educational aims. Museums are Shout scholarship and the inerpreation of teal objecs—not about trtainment but, i some people find this emertaning. all well nd fod. Curators have worket har to dispel the showmanship’ image of the museums of Ballack and Barnum. Populasization is mot thought af Ihighly om academic crc However this is toa cerin extent, to ignore the vistors’ perception of. the mascum and matket research which Suggests the Visitors Want 10 be feriained. It was De-D.B. Harden who, i 196, pointed ut that or ‘most people, a muscum is essentially « place of emetainment and imusement~ view which many visto surveys have tac endored: bat ‘uch ofthe entertsinment dors, of courte for many, cme about thoxgh Teng informed or educated. Veiane (1081) noted. "essence however ‘museums ae places of what might be termed "higher entertainment They are paces to which thoe who delight in knowledge However for many others the entrainment valve will not be depen- dent on those etnies ‘They will be entertainment the form amusement The dictionary defines ‘amusement as pleasant diversion’ dan amusement aeade as place of recreation with automatic game ‘machinewa description which could well he applied to some museum Presentations where push-button and computer. technologies are ‘Stensively emploved the tontae’ approach. Indeed: recent study of Science communication through exhibrions (Castillo 189) comes tthe Conclusion that the philosophical bsis of many scence centres 1 not ‘ell unde and that thet educational asa seo being met Ths the om mance ce ana are pap ape deo Senne play—something may be lum, creative play ts important ia developmental tee, and learning ‘Gat und should be fant ‘Wihy shouldn't muscum exhibitions simply entertain? To provide people with good cnecrainment is nat an unworthy motive. Hits done ‘wellan exhibition may well tract lange numbers of visitors who will be Tay tatnied with the coperimce: They may slo bonorc itersed i ‘ther types of exhibinons, ‘The amwer hes in the definition of “Types museum exhibiions e ‘museum, and the requtement wo interpret objects, and inform, Although ‘nota museum, Disneyland, for example, has succeeded by giving visitors ‘nat they want-—and by doing it well I ay not interpret eal objet, ut Wiprovidty like growing numberof eisreatracton an experience tuted om historical or Iiteary themes. Nevertheless, for the mont par it Stops short ofthe emotive experienc ofthe evocative exibition. Hany ‘emotional response is sought iishappiness. This type of presentation fepresents the point where the scholarly pursuit of recreating environ. ments and the leisure industry's voterest in proniding entertainment ‘Overlap. “Entertaining” exhibitions may thetetote be sane In thei tle, {ind range rom dhe onli through the husnorous 1 the ‘heatrical style presentations. They dif fiom other ypes of exhibition in Mattheir alm i quite simply to provide recreation and amasement. Miacetlanrous categories Jn addin he reainely aighloread cation of ition gration: ves bere baen opps perticelar eoiiof ee eee tee eet ene one ‘Some of the terms frequently sed are dscsted below. fy the most accepable is that pat forward by Hill and Miles is), which sate that “ruly interactive exhibits are those which ‘an vay tei presentation according w the designers pereption ofthe espone of their ° ‘The important factors in Fesponses ofthe vistors, which have an elect on the presentation. Thus pti» bution i starts sequence i n,n tis ome act, ineractive ‘nly an exhibit which involves the visitor in a series of velaed activites ‘Mat involve inellectual as wells phsial action, snd which come about ‘3:3 result of some sort of feedback from the exhibit, can be called Imeracive. A good example is the interaction between a visitor and 2 ‘computer programme which facilites a dialogue between the two in the new tange of computer-based exhibits which are mow being widely introduced: Most interactive exhibit by thet very nature work on one petsonooneahibit bass, and are generally mot designed for group Sodiences Responsive Verlarde (19842) defines ‘responsive’ exhibits av “thoue which aut matically rexpond tothe arval of the visitor. This Wan spt description ‘fan exhibit which, for example, switches on and lights up asa siot approaches.« z eae * “This term may be applied to any exhibit which moves, and i pecially televanttothase which are powered by mechanical or similar eens, but ‘in he applied to visor operated displays. Masur ebb Object-oriented ‘This in elle, means what it says—the exhibition is relin! upon objects which form the basso the coneep, and which ake ‘over any {om of interpretive media By ther nature they may dey presentation 4 ict o hema ay and quite snp be a number o et lem seorhy of display tm an exhibition. Many exhibitions of a ‘objet ali this etegory. Systematic “This tc implica an atrangement of objects according to an accepted sytem. Tt might be taxonomic Gf biological material is involved) oF ‘whatever method of classification is applied tothe typeof objet im ‘Question, It has advantages in that those familiar withthe system cam find their way easily, and those unfamiliar can learn how the material 5 ‘ordered by expets. An approach favoured by thou concerned wih hte Simensional texbook raring, his type ol display has cera relevance to students underaking sith-forin and university stodies 15 Thematic Unlike the systematic approach, the thematic exhibition starts with a ‘storyline and draws upon objects to ilustvate dhe theme. Obviously in patie the two mas’ well evolve togetber. for thematic exhibition ithout objets would be a nonevent The theme isthe linking element «ween objects which are strung along in linear sequence, like beads on atnecklace. However, this approach does not preci the interpretation ‘Of objects either itn or relation wo the mai theme Pertcipatory [Not concerned solely with pasive viewing, paricipatory exhibitions are ‘hone which actively involve the visor in sing hi’ ber wna of touch as well They range ftom interactive computer based displays to the ‘doit Jourelfsype svente where viitors are encouraged 'o parieipate lly And produce drawings. prints, ceramics or whatever. They are based of the od edocational adage I heat and forget Tce and T remember do tnd Tundestand Part three. Exhibition policy, planning and brief5. Exhibition modes ‘characterises, and then to consider other aspects suchas approach and site Permanent exhibitions {In Victorian times, when so. many museums were established and ‘hibition galleries et up its clear from the way in which display cases ‘were built into the atchitectare thar the layout was ‘tended 10 be permanent —that is twas imtended last the ‘permanent’ ate either extensively changed or subjet to curtaiiment. oowever for planning and design purpose itis important to know she imended We ot amex ertanly aller eens ade fn virtually all aspects ofthe design and content. The aims and objectives St. permanent cahibition may alo diller rom thove ol a short-term fom although the bate romeunicatons functions will emai. I {this content ‘permanent has come o ean a minizmum ie of about tn Years. Addressing the Royal Society of Arts on the subject of museum Assign when director of the British Museum, Pope Hennessy (1975) made the distinction that permanent exhibitions were tobe absorbed through fepeated vist whereas temporary exlibiions were aimed at de moa ‘eeuring vitor. Thi ian intresting distinction, and may well Be [Sppropriate o situations where acces tthe permanent collections i fee hi charge fs made for aces to the major temporary exhibitions ‘Any_proposl for a"pemanent exhibition must be considered in relation to'a museum's overall communications policy and plan, af Important factor in which will be the exhibition budget. This may be sullcient wo provide the funds necessary to develop exhibitions of qu ‘hich will lst many years or possibly be generous enough to facilitate Thange™or indeed both Alternatively funds may be inadequate to do {ther and an exhibition may simply evolve and undergo modifications 10 fxtend is usefulness. This is not pecesurily a bad thing. for even the ‘most ‘permanent of exhibitions should be capable of change i needs Aitae However, fnda need to be adequate to do the jb propery and, ation made * while itis offen posible to raise money for a ‘one-A inital project {Gan be moe dificult to guarantey suiicient funding foram ongoing Programme. Furthermore, once complete the "permanent galery thowld mot only be capable of undergoing, if required, the Indicated above, but also have dhe necessary tance allocated it which will ep itmaintained wo a satislactory standard. Nevertheless, sponsors providing finance for an exhibition often like the idea of contributing to Senmething which has a degree of permanence. "The type of museum, iscollectons and the story it wishes to tel will ako allect any proponis for permanent exhibitions For small muscu ‘with limited material and some specialized museums with a straight Forward ot even just angle sory to ll, a permanent exhibition Is probably the best answer especially if what i done is very succesful ‘Ghange for changes sake is not, im isl, defensible. for umes Dacked by sound intentions of improved performance, extending the coverage, atacting 4 wer and continuing. suencr oF commer ‘abit, anor be justi. Gormc types of exiiion lead therecives to longevity move than, ‘others: Exhibitions of quality art objet, for example, when sensitively ‘splayed and well documented may sucessfully remain on view for ‘er omg ime (provided. ofcourse, conservation needs ae also met). The Traditional hanging of pictures in many at galleria good example, ppuiculanly where the sivle of the iateor (possibly. Victorian Edwardian’ neo-classical) a major influence-on the design of the presentation. (Garret there i a move to go beyond mere slic influence on the design of the presentation of tome at exhibuions and to. reore accurately many ninetcenth-cenury galleties to thet oviginal deo. fations and exhibition isle This concept of maiaining 4 pesiod building in is original state (whilst making some concessions to mradern Standards of lighting. heating and security) isan nteesuing one which his valdiy in showing how the building oeiginally appeared and Collections were presented a he time (Chiford 1947) Foreanately publi tastes now more appreciative of the decorations of dhe Victorians an Edwardian (thanks tn part to the commercial undetakngr of such companies a Laura Ashley and the wend of nostalgia promoted by poptlar television programmes, and ths approach ts more accepable cay than. it might have been some temo even twenty Year ago. However, there are sill dangers in thi approach as communication techniques and she expectations of visitors tala ae very fren om those oa hundied yrs ago. “Other types of exibition which work well ver ong pias ae those which neat Title updating in erm of the information ven, of Teve ‘changes content Fite and historic collections which are wou ikely 10 beaded to come into this category, especially when they ae sho their enter when a good representative selecion cam be made ad ‘decsion pethape ken to show the remaining matial on temporary Shows or consign ito stay clectons or soe. Thon alleren micsSes ff an auence (and marke stages are aways taking ‘of {this), museums, to, need to capitalize on the fact They may do 50 perhaps once very ten Yeats or 50 in respect of thet "permanent Exhibitions unless these are opened in rottion with pethaps one every ‘ther yar, ane must do so considerably more frequently if they ined ‘mount an effective temporary exhibitions programme. For an exhibition to assume permanence: it must be designed to ‘andarde and in a seanner which wil ts. I est also be mute Fee Iteral nd icliadecompanents which sel withwtnd continsal wear And tear and can be maintained or easily and economically replaced. ‘Gore design is angubly timeless in is appeal. To achieve tin quality there ate, perhaps. four distinct approaches from which the designe, [ulded by’ the requirements of the bri, must sleet but one. The Shernatve approaches ate 1D"To design i very much in the style othe day, and incorporate many of the denign cliches eg. thie years Cashion coloure the cuendly popular typeace. the last high street display spodighs, etc, and make i very much 4 statement of eurent populat or "wendy design Inevitably this will be and will always appeat to be what it isan ‘exibition produced at a parucular time and inthe (posibly exagaer= Ste) ste of the day Ie wl be nxiceably so rom te moment it opens ad as meat year's colours, typelaces, ight fiings and wallpaper designs supersede Jo provide design whichis very much in the ‘modern’ idiom, but taking cae to avoid the design clichés as above) and design extremes {Use classic” simple design elements. select colouts which have a snow Tasour acer and we decorative cements with estat and {se all materials honestly with a generous inclusion of natural ‘motcials sich as wood and stne which have aimless quality. THs proach, while appearing "modern, wil be hss casy 10 date precnly, and will dhereore be seen to have lasing Ireshness To auempto provides tal orginal solution This might anticipate Ase or even crete one which others wil follow. Tecan bean exciting {i dlficalt approach for the designer who, although tained wo be fnnorauve, tr everthcles 9 person of his he and a sch sneitably j Eshiiton mates ” {nflunee by the presen and the past Furtbemore he is obliged 10 toe the materials ad equipment of the day albeit in new gue oF to teage in the expensive pur of praict development Toy metus to anticipate what style wl be lashionable s,m $e tinned ica Ee She eo ny, wich han onsierable resources with vehi to tnluence ends i mt bri ‘hem about finds pricing even a yar ot two hence hzardous, And ltwough the muscu worl arguably slower, a present aso lacks the arbor of syle mbich (esenaly for commercial reson) the {eshion industry asin abundance DTo design in a accepable tile ofthe past, but incorporate certain ‘modern tecnica refinements much as Tighting Cleary this approach ‘Gabe used only when reevant ether whe object be shows oto ti acca cron Hoeven prov the oo {unity to work inthe syle of At Nouveau, Art Deco or whatever and beamred i will not become pass as fara ashen concerned, Dut remain te othe time ofthe objects or the utling “The design approach selected must cleatly be in sympathy with the ‘material to be exhibited. the environment into which the exhibition 110 ‘oe placed ani be developed in response tothe ais and objectives 8 ‘Setined in the brie ‘Temporary exhibitions ‘permanent’ means 2 life of up to and around ten_years. then “Temporary means something less. The intention of how much less nerds tobesated inthe design bre but in practice wil olten be determined by help, temporary can be qualified by short “toed and ‘Tong'trm. Short-term could be a day week ora month ‘or two, depending on the muscums exibition programme and events, Bac ioeh be foes to tx member —ptinys ce orl anor ‘mime exibition running irom Es when a space it be filled without certain knowledge o the time when it {sto be brought into a schedule, and so is"temporani’ filled pending further developments Unfortunately the funding of many museum ‘wih the annual uncertainties of budget allo thcks, often: makes ‘medium and long tr plan {iequently means that too many projects ae undertaken on a temporary bbl and hen severe an unintended permanence Advantages of temporary exhibitions Planned temporary or shor-tcrm exhibitions have several distinct, ‘qualities and Should Seve bo the mascum and its audience well: Foracum ebibiions TEEN at net sir teat how. the mounting of changing exhibitions of short duration rh the aig othe rene fami, ‘en eat ccs ot pli! sa vst Fe ecwiaaecand a eee ‘lords the ideal opportunity 10 be innovative and daring without encouraging stor to see things ca be ted—for example, though the junta: Positioning of objecs—and countless original themes can be Idee no concept should be excluded from consideration the asad ‘bjecives are vad dhe safety ofthe objects is asured and its relevance the overall programme satisfactory. apacty wo be ‘ay respond, alos spontaneously (if adequately resource) o curent ‘Gents This an important capability i the museum wishes to promote fin image of being uptodate and concerned with the present sd fate fe well the pel. Andi the approach w the concept and content the exhibition can be experimental, wo too ean the methods of presemation. The very {impermanence ofthe exhibition means that new approaches can be made, few materials used and nev techniques ed out Indeed sks can and Should be taken (but not of course wich the objects) which would be y ruled out ina permanent situation. Furthermene, it should bean sim of every emporary exhibition otstand evaluates nw sopect vo that now gutned. This could bein light tinge or any otherexhibition lement=for only inthis way all the body of knowlege i elation t9 fxhubitio techniques be conmenicatly and economically advanced ‘Such have been the achievements of the temporary exhibition in stablishing a standard, that, on visiting such an exhibition, the public row have ceria expectations. This te 30 much 50 that should an club fait delight entertain, srprae and form, he public may ‘well depart disappoimed and even disiiusioned Temporary exhibitions programme luis obviously not possible in this work to provide a comprehensive Hist of topes which are suitable for facksion in a museums temporary ons prtarne. An enevel had i orrpring te fe "hambing throag the evant sections of sch + publication. A “rai ming session i yet another meted by which ideas maybe generated. Exhibition moe, ° However brie checklist of some of she main subjects and sources which might be relevant toa multieplinary museum is given below. Ieee mational or nepal sic nt i 2 Setableteatrentrs of uot cet Thee way ache ivestions ad Aiscoveris, bates and taster achievements, Ce 3A a happiness e ding own oi “T'S ram te mascum/s various departmental ellectons whieh not Mae which is already on how, perhaps in dierent cations bu which ‘nai baht ger a pra ee : Sealy eget Catal dma comp ZT Naenal which may be mowed rom ether muscurns oF exhibition oneweta be wheel abil “The work of the various departments o the museu ss ‘This list forms something lke the staple emmporary exhibition diet of ‘most regional multe-discplinary museums in the country. Howeer, fxacly how each museum devises is programme must depend on is policy on communicating with ts publi—its ams and objecives—and the mutetial ic has on permanent exhibidon, A Turther eonsideaion ‘must be the resources it has available to mount the exhibitions ners ‘tspace, manpower and money. A major ational museum may have the {pacity to mount several temporary eabibitions concurrenly ~ one Pethaps in each department, and a major one in specially resoured falley” While 3 mult-discplinary regional museum may Tack the Fesourees to do this it ay instead feature n rotation the subject mater teach of fs departments within the programme. Cleary the expertise nd enthusiasm of departmental stall ate atic resource Tor use tn the provision of temporary eat However, althoagh resource to provide in-house temporary exhib ‘ions ae restricted because of financial limitations ot ther Portis, Incorporated within a programme will probably. be ealitons ‘Geulated by other museums or agencies. Those producing sich exhib: tions include many ofthe major national museum, te ars and cals Councils and the area museum services. Yer another sources the feommercal sector, where many companies produce exhibitions Ihr {ng their stony or the history of theteprducte Although thee i often feeinvolved in hiring these exhibition ‘when compared withthe cost of providing an in-how ‘ommissioning a similar exhibition Irom outside con ‘tcoune, the exhibition irrelevant tothe muscu a Having more than one venue available in which to tion in the programe should enable there be Yeas one exhibition Tredoubedly mate are good value ‘exhibition orith the changes flected rapidly. Dechinee loning to whos cchibaias should be Ope Sed Wiest sensible 10 be "turning a space around will come partly fom an Swarenest of the museum’ visitor patie. For most, the year i ‘punctuated by the major holiday periods of Christmas, Easter and the Fong summer beak Each will doubiew warrant a particlar temporary ‘chibiion, posibly augmented by other activities such a5 lets OF participative cvenss Christmas is perhaps time when, because the lead Tp pert is ohen quit, such evens can be provided In contra, Easter Sid summer te ties sehen the population ie more mobile and major tourist cenues cam expect large influx of Visitors. Tn between these holy pious ae he academic terns ween exhibitions cam be ied 40 ‘coincide with school of college teaching programmes. tis 3sxd truth {08a waste of valuable time and space. na small local museum this “Rxtaration’ point might be reached ima relatively short ime—perape at Ite a a week o two. Indeed period of not much more wall probably lho enable all those intending to do sot sea exhibion ‘muneum-—especally ifthe exhibision has limited appeal the eahibition opening or private view which percentage of these prople—pariculariy the museums has 3 goad ‘mailing list) However tbe pattern may change if the museum. ‘tition 10 its Tocal resident population which provides he regular ‘ston, also tracts «substantial number of tout or im tee te, Students: For these may well enable good level of atendance to be ‘stained virally uhroughout the 9 any of the Lrvdon mcoes fall ao this category particu da major national museume which ata! vitor fom ther locality nd irom all over Britain and abroad. Atendance. therefore. a2 major temporary exhibition ina national mseum may after anita bust of ‘athssm, be maimtained at» fairly constant and satiactry rate, and Sustain this almost indefinitely. However the familiar atendance pattern hibition moder {for mont well advetincd exhibitions is that atendance is greatest ‘immediately after the exhibition's opening and again jst before itcoses Estimating the numberof pope who. might attend an exhibition is important fr several reasons The fst ie simply the economics of the ‘venture. I adminsion charges ates consideration iis important to ave ln ides ofthe potential income and indeed to st trgete These can be ‘ed in determining the exhibition budget and induded im the design bref in relation to the practical problems of crowd flow within the ‘xhibtion space. Admiting too many people at any one ume results Congestion. an uncomfortable environment overheating ana fee ofthe abies bin rey em by ato th into. Camry ning ‘ah create congestion ehewhere, necessitating special queve: ing ten Unies a mtscun i wnt ts handling Ite namin of ts wil aed to ck special avi the ering and anspor Implications. Yet another reswon for estimating vitor stendance ‘enable an ascent to be made ofthe likely requirement for publics ‘ons: In parca, the print runs of auch tems a catalogues ned to be Aetcrmined and alo posible sles of souvenir items. Gauging these ‘numbers accurately can be crucial tothe economic sucess ofthe Project Other modes of exibition Special exhibitions While the term temporary’ is apporite fr we within a muscu, and ‘ccasonally may cente «sense of urgency to view if sed in publicity ‘material. a'word used ftequendy, rather arbivarly. in relation 10 cahibitions is special’. The dictionaries give several definitions. of a particular kind, peculiar, not genera’ fora particular purpose especial Exceptional in’ amount, degree intensity, tc, and all Usse have pplication imvlation tothe exhibitions sehich may be schaded 0 this ‘htgory. Clearly the word special” implics consideration and purpose {anes and something out ofthe ordinary Coming into thineateary ate thove mon! special of special exhibitions which have: Been ibd ‘Dlockbusters ‘Although some exhibitions have succes th achieve by 2 blockbuster tends to be anticipat Hema). Ie is also necroary to bring the material or the subject to the ‘tention of the public and that ca be achiewed only through extensive Promotional work in both the quality papers and colour sopplements {nd through radio and television coverage. The support of 4 powerful find efective backer in such an enterprises eee ‘Subject mater has generally related tothe fine and applied arts and archacology, and among the most memorable have been Treasures of Tutankhamun’ (1972) atthe British Muscum, ‘The Genie of Chins! (0973) atthe Royal Academy and the major exhibitions of uch attsPy 3 Museum exhibitions Conable, Turner, Renoit, Chagall and Monet One characteristic ofthis "exibition i the uniquencis ofthe oceasion which tends afer $e iene open ae oun fj hh ae trough ogee, psy rom all over the ‘academics but to thet ability to attract the crowds. People cbme to see Sbjecs they have head about, and wo experience the speciace fot themes” For s lage number of visitors the teams for this are probably twofold The irstisa genuine desire o ee work which imerests ‘hem. The second is more complex, and comes about a 4 rest of 3 ‘minture of advertising and social presures. Rather like the opening of atthe Royal Academy, which waditionally marks the beginning ofthe new season of socal occasions, and where for some, {tis imporant wo see and be sen, the blockbusters have acquteda sma socal litson and basic “snob. value, Not 10 have seen the curent ittealy is private) i certainly ‘one-upmanship' thee at benefits howe i its own sake and thoxe interested in it for what t might are also benelits to the museum and the sponsor. Fo the former tan central role on the museum and gallery sage, pleasre to. large mur of people hilt tthe same tie eiting the Drauit of scholarship However, planning a blockbuster requires special attention to be paid to the sale Of the operation and, in particulat o the large number of ‘stor expected to attend. A wslul case study is given By Coutts ‘Profile of blockbuster (1989, in which he dscuses the very sucessful (or pater fellected the power af the media coverage, He reported 2 luge attendance the st week of 27,121 followed by 3 dop of about 25 percent inthe ucond week: However owing to tlevision adverising, 4 documentary and eatensive coverage of stunt o provide a ee pt CGhinaTor the 1500000 visitor, am stendance figure of 31381 was Decisions will ed to be taken on visitor flow throughout the exhibition, ‘on how many itcan accommodate at anyone tine and the through-flow fate, and also whether this can be acelerted tn any way by limiting iewing time at peak pevios. Indeed, every aspect Fesoutees will need special consideration i iis tcp with a projet on the male ofa blocks. Travelling, civeaing ot touring exhibitions Exhibitions designed to be mounted in several venues ate variously described at travelling, circulating or touring exhibitions, Preparing 3 ‘chibition inthis mode can have certain advanages which could july ‘he inital decision to undertake the projet, fr. kiven the consierable amount of work which goes into the research, preparation sind produc tom of an exhibition, i clearly sensible to maxtiize tbe Denti to be derived from such labours ‘Some ofthe possible advantages of preparing an exhibition which an bechculaed a 1 The eahibiian can be seen by ager numbers of prope and i erent ere of pce cn be sare yee tn age a | redaction expense or ven produces prot nn MS wi Os | EeThterprse can operat un 44a which woul aay the production ‘ont iwc mse pubinbing of ancilary materi sacha Eales pobiy euc nd coca all of which ivi Ligh ital trop Y)Theti potty os pra arangencas wah mucus to whom ‘he ibaion cuelated whey tay prodace and cca ebion stances thet ae also plicalpesresto ma aletions ees ong hs nan hon a “The disadvantages of traveling exhibitions aso need wo be appreciated Probably the overriding cance ofthe muscu originating the cub Wiom is the miety of the abject Second, the muscurm may be{cut robust enough to fanetion effcienaly and suficienly Mesile to adjust to the requirements of diffrent venues For thewe reams. tavelling exhibitions are often designed ax “core xn wih cial spray un ch gy oer ‘Space permits The apgreach needs careful consideration a every and pice opp andi o cys 3 ae ‘exhibit is to result, without obvious omissions or faps- ‘Belore embarking on circulating exhibitions programme itis worth lunderaking a thorough fealty stay. Thin should aes dhe market Sd consider the financial and resource implications of the venture: Ta particular st important to dewermine who will be responsible for {Exhibition assembly dismanding and reerection, packing and wansport Security and conservation, insurance and maintenaner, a well a aa nistation. Some organiations which cteuate exhibitions have their ‘wn technictane who ate responsible for moving the exhibition from one ‘Come to another, with al that this entails Tht cleanly senible the Sirol the operation warrant i since the wall concerned can be suitably trained and will become experienced with all aspects of the sk: Other Specs hich warrant particular attention ae security conservation and ‘object packing Here to afl ned to be made aware of the needs ofeach type of object Insurance is relatively straightforward, but ncesitates forethought and clearly defined writen agreements pri tany material cutie, Respnsby or natenanc ab rues corn. tnd, sine it cam be an area for disagreement, Is wise 10 fli as who dvould be opens tor ta sod a pert Shy damage or fault which occurs whit the exhibition i in progress Tn fat ts wise forthe museum producing exhibitions for dreulation to draw up writen details ofall aspects of the scheme. These should {clade information on the following. “The exibition: cid, hemes, conten iss Ginsersation a ects reguement Dealt eres of greet, Free should be provide fr ea ‘on all exhibition components even down to the lt ut and bolt) amd provide sequent inmructions on unpacking, asembly, demanding Exttition mater s and repacking and lst all objects. Also include should he separate ‘hechiss which cn be signed by the host museum and act as recep or Ge maria, "Much of the foregoing discussion has related to the muscums which ‘originate the material. From the point of view of a museum seeking temporary exhibitions for its programme they are ideal, particularly esourees a limited and do noe permit moch in-house development. Furthermore a wide range is olten available, so museums cn be elective ‘and enwure that what they ‘ite’ te relevane wo thet temporary exibicons policy or programme. Some organizauons which ciretate exhibitions (Such asthe Arts Counc) grade them in accordance with thei ecutty land comervation needs and inspect venues to emwute that they comply ‘with ther requirement. Organizations im Britain which ate smvoved i the organization and funding of exhibitions indude ae museums services. the Ars Couacil of Great Britain, the Briss Council a the Grafts Gounall and also many of the major national museums Several of these also produc regular lists of the exhubiuons available, ogeter with ‘ieful documentation. Portable exhibitions Generally ‘portable exhibitions are regarded as those small selconta- fac exhibitions which may be transporte to ste, ereced and alter 4 Period of display, removed and probably brought back to base for use gain if required, Possibly the main feature which distinguish them ‘exhibitions are thowe of wale portable exbabitions are ‘Eeneraly quite small and may comprise slit as few graphic panels. ing case larger than a ultese. Portable exhibitions are wslul since they may enable useuns to extend thet coverage to such event as focal fats and county ‘oneday events ‘They may aso be used as short foyer, ab tours information promotional events oF ding societies and inthe enous i ‘work and is collections, ie to promote the museum service and atact stor tothe museum, Portable exhibitions may als, of cours, be ‘tailor-made’ for specifi ‘occasions. Given 3 baie structure, they my be reed in 3 variety Of Saysan needs dicate, However, because of tir ste and het need Wo be ‘lly uamaported, care must be taken to envure that no fem of eat aloe are tncloded nthe exhibitions since itis often impose provide adequate curity Mobile exhibitionspretive material and faites forthe sae of publications, ete They a She accommodate sll, which may enable ssitor’ enquiries vo. be Answered, objects 10 be identified of even ladle workshop-ype ‘cmonstation 1 take plac. Olten itis possible to design the unit Such a way that abasic module prtably the vehicle) may be extended Imcane of awnings and similar tent like stricture. To these may be {lags and banaers to ceate an exhibition which can command ensider- able visual impact Loan exhibits/exhibitions Items in the muscum's collections which may be borrowed by outside otganizations or occasionally, by individaals are termed oan’ exhibits Sreanibitions. Normally they consist of ether ove ota group Of ems ‘which is ase for tansport and hen opened and even, by the Fecipien i what wil normally bea teaching oF sting situation in “caller Wheres thir tpe of material often bat miiemal owe the wacher to imtepret tin a variety of ways teaching needs, tay also be presented in a ‘mented by photocopies of maps, illustrations and eal for group projects. This “work-box” approach has proved ery popular and it wc extensively by many “schools ‘Nevertheless, cate must go nto the selection of objects fr use in this ray as Tou cahibite,siace they wll be exponed to comserabe ike ‘Thereore duplicate, unprovenanced. and indeed almost expendable Betihion maces s ‘material should be used. Notwithstanding this, the impact sich material ‘an have considerable, The thrill of handling gene Roman cone ot ‘most tssea should not be underestimated, not should the sensation of touching the sales ons snakeskin or leeling the feathered head of 3b for the first tine. However, the thrill of touching something in his Sieution cam be an eddcd bonus to the rare standard didactic pe: “tation, which can have clearly defined educational objectives and ‘elas closely wo a specific teaching programe. ‘Yet another scheme, more concerned wih individual objects than ‘exhibitions, isthe pictae loan sevice which is operated by many at fzalleries on similar lines toa lending library. However, instead of books fBembers ofthe scheme may borrow criginal works of at for periods of cveral months of ven longer, Once available mainly 10 schools and Colleges, this scheme har been extended by some local wuthorty at {alleres wo cover att in public places ouch at hospital teeeption eas fic) and even to private individuals requiring an original work of at for thelr howe,Exhibitions in Museums Michael Belcher Leicester University Press Leicester and London Smithsonian Institution Press Washington, D.C.