Manual of museum exhibitions (Record no. 39986)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 08582 a2200205 4500 |
| 003 - CONTROL NUMBER IDENTIFIER | |
| control field | OSt |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20140814140835.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 140814b xxu||||| |||| 00| 0 eng d |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9780759122703 |
| 082 ## - DEWEY DECIMAL CLASSIFICATION NUMBER | |
| Classification number | 069.5 |
| Item number | LOR |
| 100 ## - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Lord, Barry Ed. |
| 245 ## - TITLE STATEMENT | |
| Title | Manual of museum exhibitions |
| 250 ## - EDITION STATEMENT | |
| Edition statement | Ed.2 |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT) | |
| Date of publication, distribution, etc | 2014 |
| Name of publisher, distributor, etc | Rowman and Littlefield |
| Place of publication, distribution, etc | Lanham |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | xvii,438p. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc | List of Figures and Images xi<br/>Acknowledgements xvii<br/><br/>Chapter 1. Introduction: The Exhibition Planning Process 1<br/>By Gail Dexter Lord and Maria Piacente <br/>1.1 Exhibition Development Process 2<br/><br/>Part 1: Why?<br/>Chapter 2. The Purpose of Museum Exhibitions 7<br/>By Barry Lord<br/>2.1 Exhibitions as a Function of Museums 8<br/>2.2 Museum Exhibitions as the Communication of Meaning 10<br/>2.3 Modes of Exhibition Apprehension 14<br/>Case Study: Cleveland Museum of Art 19 <br/>By Nicole Dawkins<br/>Chapter 3. Where Do Exhibition Ideas Come From? 23<br/>By Barry Lord<br/>3.1 Research-Based and Market-Driven Exhibitions 23<br/>3.2 Planning for Exhibition Research 24<br/>Chapter 4. Measuring Success 27<br/>ByGail Dexter Lord<br/>4.1 Museum-Specific Evaluation Criteria 28<br/>4.2 Who Is This Exhibition For and Why? 30<br/> By Kate Markert and Gail Dexter Lord 33<br/>4.3 Before, During, and After: Front-End, Formative, and Summative Evaluation 33<br/> By Duncan Grewcock<br/>4.4 Qualitative and Quantitative Audience Research 40<br/> By Barbara Soren and Jackie Armstrong<br/>Part 2: Where?<br/>Chapter 5. Exhibition Facilities 57<br/>By Heather Maximea<br/>5.1 Developing Design Criteria for Exhibition Space 57 <br/>5.2 Exhibition Environments for Collections 60<br/>5.3 Exhibition Space Characteristics 68<br/>5.4 Exhibition Gallery Security 86<br/>5.5 Accessibility, Adjacency, and Circulation 93<br/>Chapter 6. A World of Exhibition Spaces 99<br/>By Heather Maximea<br/>6.1 Permanent vs. Changing Exhibition Spaces 99<br/>6.2 Exhibition Spaces for Art or Archives 101<br/>6.3 Exhibition Spaces for Artifacts or Specimens 105<br/>6.4 Intercreative Exhibition Spaces log 108<br/>6.5 Study Spaces within the Exhibition 112<br/>6.6 Temporary Exhibition Galleries and Multipurpose Spaces 113<br/>Case Study: The Reach: A Mixed-Use Facility 117<br/>Part 3: What?<br/>Chapter 7. Permanent Collection Displays 121<br/>By Katherine Molineux<br/>7.1 Planning for Permanent Collection Exhibitions 121<br/>7.2 Changing Permanent Collection Displays 123<br/>7.3 Interpreting Collections 124<br/>7.4 Modes of Display 126<br/>Chapter 8. Exhibitions Not Based on Collections 133<br/>By Katherine Molineux<br/>8.1 Idea Exhibitions 133<br/>8.2 Children's Exhibitions 135<br/>8.3 Living History Exhibitions 138<br/>8.4 Science Exhibitions 141<br/>Case Study: Weston Family Innovation Centre 143<br/>By Lesley Lewis and Kevin von Appen<br/>Chapter 9. Virtual Experiences 147<br/>By Ngaire Blankenberg<br/>9.1 Web 148<br/>9.2 Mobile Technology 149<br/>9.3 Developing Virtual Web and Mobile Experiences 150<br/>9.4 Options for Web Experiences 153<br/>9.5 Options for Mobile Experiences 159<br/>9.6 Conclusion 163 <br/>Chapter 10. Participatory Exhibitions 165<br/>By Ngaire Blankenberg<br/>10.1 Participatory Exhibitions: Enhancing the Museum's Value for New Publics 167<br/>10.2 The Paradox of Participation 168 <br/>10.3 Why have Participatory Exhibitions? Goals and success Indicators 168 <br/>10.4 From Visitors to Participanrs: The Participation Continuum 168 10.5 Types of Participatory Exhibits 170 10.6 Ingredients for Participation 190<br/>10.7 Conclusion 194<br/>Chapter 11. Temporary Exhibitions 197<br/>By Katherine Molineux and Maria Piacente<br/>11.1 Managing a Temporary Exhibition Program 198<br/>11.2 Making Space for Temporary Exhibitions 202<br/>11.3 Public and Educational Programming 204<br/>11.4 Funding a Temporary Exhibition Program 204<br/>11.5 Generating Revenue 206<br/>Chapter 12. Traveling Exhibitions 207<br/>By Maria Piacente<br/>12.1 Staff and Professional Resources 209<br/>12.2 Loan Agreements 210<br/>12.3 Preparing an Exhibition for Travel 211<br/>12.4 Managing the Tour 213<br/>12.5 Borrowers and Organizers 215 <br/>Chapter 13. Exhibition Retail 217<br/>By Susan Dunlop <br/>13.1 Key Trends and Principles 218<br/>13.2 Retail Research 219<br/>13.3 Merchandise Mix 221<br/>13.4 Beyond the Museum Shop 223<br/>13.5 Products Related to Temporary Exhibitions 225<br/> Case Study: "Harry Potter™: The Exhibition" 228<br/>Part 4: How?<br/>Chapter 14. Who Is Involved in the Exhibition Process? 233<br/>By Maria Piacente <br/>14.1 Roles and Responsibilities 233<br/>14.2 Teams and Committees 237<br/>14.3 Contracting Expertise 238 <br/>14.4 Making Decisions 239<br/>Chapter 15. Preparing the Exhibition Brief 241<br/>By John Nicks and Maria Piacente<br/>15.1 Formulating the Exhibition Concept 241<br/>15.2 Exhibition Brief 244<br/>Case Study: "Canada: Day 1" 249<br/>Chapter 16. Interpretive Planning 251<br/>By Maria Piacente<br/>16.1 Addressing Learning Styles in the Interpretive Plan 253<br/> By Christina Sjoberg<br/>16.2 Interpretive Planning Process 255 Case Study: Interpretive Plan: National Archaeological Museum Aruba 264<br/>Chapter 17. Curatorship and Content Development 269<br/>By Lisa Dillon Wright<br/>17.1 Research Planning 269<br/>17.2 Collections Research and Selection 272<br/>17.3 Exhibition Text 275<br/>17.4 Image Research and Procurement 281<br/>17.5 Researching Hands-On Exhibits, Models, and Dioramas 287<br/>17.6 Researching Audiovisual and Multimedia Exhibits 288<br/>Chapter 18. Design 293<br/>By Yvonne Tang and Yves Mayrand<br/>18.1 The Design Process 294<br/>18.2 Designing Interactivity 298<br/>18.3 Lighting Design 300<br/> By Kevan Shaw<br/>18.4 Exhibition Display Cases 305<br/> By Jim Stewart<br/>18.5 Graphic Design 314<br/> By Jacqueline Tang<br/>18.6 Universal Design and Diversity 322<br/> By Craig Thompson and Phillip Thompson<br/>18.7 Green Design 335<br/> By Yvonne Tang<br/>Chapter 19. Multimedia 339<br/>By Ken Reddick and Milica Stefancic<br/>19.1 What Is It? 340<br/>19.2 Where and How Is Multimedia Incorporated into the Exhibition? 345<br/>19.3 Hardware and Software 347<br/>19.4 Centralized Control or Not? 349<br/>19.5 Where Does the Content Live? 349<br/>19.6 Visitor Technology 350<br/>19.7 Social Media 351<br/>19.8 Operations and Maintenance 351<br/>19.9 From Concept to Delivery and Beyond: Developing a Multimedia Exhibit 352 Case Study: Developing Multimedia Experiences for the Royal Ontario Museum's 354 "Ultimate Dinosaurs: Giants from Gondwana"<br/>Chapter 20. Fabrication and Installation 359<br/>By Erich Zuern<br/>20.1 Design Bid or Design-Build: What's the Difference? 359<br/>20.2 Getting Started 361<br/>20.3 The Fabrication Process 364<br/>20.4 Tracking and Scheduling 370<br/>20.5 Warranty 371<br/>Chapter 21. financial Planning 373<br/>By Erich Zuern<br/>21.1 Creating an Exhibition Budget 373<br/>21.2 Direct Exhibition Costs 374<br/>21.3 Related Exhibition Costs 376<br/>21.4 Managing the Budget 377<br/><br/>Chapter 22. Effective Exhibition Project Management 379<br/>By Robert LaMarre<br/>22.1 What Is Project Management and Why Is It Needed? 379<br/>22.2 A Team Effort 380<br/>22.3 Applying Project Management Methodology 382<br/>22.4 Certifications and Continuous Learning 390<br/>22.5 Completing the Tasks 390<br/>Chapter 23. Conclusion: Making Meaning through Museum Exhibitions 393<br/>By Gail Dexter Lord<br/><br/>Glossary 395<br/>Annotated Bibliography 409<br/>Index 421<br/>List of Contributors 435<br/> |
| 700 ## - ADDED ENTRY--PERSONAL NAME | |
| Personal name | Piacente, Maria Ed. |
| 890 ## - Country | |
| Country | India |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) | |
| Source of classification or shelving scheme | Dewey Decimal Classification |
| Withdrawn status | Lost status | Source of classification or shelving scheme | Damaged status | Not for loan | Collection code | Withdrawn status | Home library | Current library | Date acquired | Source of acquisition | Cost, normal purchase price | Total Checkouts | Total Renewals | Full call number | Barcode | Date last seen | Date last borrowed | Cost, replacement price | Price effective from | Koha item type | Public note |
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| Dewey Decimal Classification | Faculty of Design | CEPT Library | CEPT Library | 13/08/2014 | Astha Book Agency | 3765.01 | 21 | 30 | 069.5 LOR | 012670 | 17/10/2024 | 29/08/2024 | 4706.27 | 24/06/2014 | Book | Bill No.2014-15/IN8667 Dt.24/06/2014 Pound 45.95 |