On Exhibit

"Margaret is unlike other women: her hands bark, she speaks Hawaiian Punch, and she can often be seen prodding at stars with sticks. And sometimes she is the happiest woman in the world: a pillow with a pillowcase. Her brother, Alex, feels pleasant enough, except that his parts are made of wood, and that a bunch of his hair is electrified. And then there are the gun-shot wounds to his head and chest. With this final ailment, Margaret may have had a hand. In the winter of 1926, Margaret McPhail went on trial for the murder of Alex, and throughout, maintained her innocence. "Exhibit", more than a poetic retelling of her trial, chronicles the path to a verdict, misstep by misstep. Brother and sister become knotted aberrations, grotesqueries that are at times monstrous and at others stunning, at times sickly and at others impressive in their strength. Folded into these poems, helping to give them their current, at times strange and potent vision, are cuts from a broad variety of sources, including primary source materials, interviews, fairy tales, the history of feminist film, and more. Unique and rewarding, "Exhibit" is a masterful work of collage poetry that rests in the spaces where reality is constructed and blurred."--

Why did the Victorians collect with such a vengeance and exhibit in museums? Focusing on this key nineteenth-century enterprise, Barbara J. Black illuminates British culture of the period by examining the cultural power that this collecting and exhibiting possessed. Through its museums, she argues, Victorian London constructed itself as a world city. Using the tools of cultural criticism, social history, and literary analysis, Black roots Victorian museum culture in key political events and cultural forces: British imperialism, exploration, and tourism; advances in science and changing attitudes about knowledge; the commitment to improved public taste through mass education; the growth of middle-class dominance and the resulting bourgeois fetishism and commodity culture; and the democratization of luxury engendered by the French and industrial revolutions. She covers a wide range of genres--from poetry to museum guidebooks to the triple-decker novel--and treats three London museums as case studies: Sir John Soane's house-museum, the Natural History Museum, and the exemplary South Kensington. While On Exhibit provides a fascinating analysis of Victorian society, it also reminds us how modern the Victorians were--how, in crucial ways, our culture derives from the Victorian era. Forging connections among museums, urbanism, and modernity, Black provokes us to examine cultural imperialism and the costs and advantages of cultural consensus.

This guide to writing interpretive exhibit labels is updated to include new voices, current scholarship and the unique issues the museum field is grappling with in the 21st century. This edition is more accessible and easier to use for all museum professionals, from label writers to museum directors to exhibit designers.

The curator of a major museum tells about the creation of an exhibition, from beginning to end. Never before has the design and installation of anthropology exhibit been described in such detail. Not only are technical matters discussed, such as how to simulate a tropical rainforest in miniature and how the noxious fumes of urea formaldehyde are blocked from harming the specimens on exhibit, but there is also an endless recounting of stories about the various exhibits: Thus we read of a mother who is engaged in funerary endocannibalism, sifting through the shed of her cremated infant daughter, looking for every bit of bone and tooth which she will grind up, mix with banna drink, and ingest... we see shaman blowing tobacco onto a straw doll to bring it to life and help him in drawing a missing soul away from the evil spirit who stole it...the curator tells how he came to have in his office enough curare to kill ten thousand monkeys...then there too is Ogomigi, the dreaded double-headed vulture who devours the souls of dead Kuikuru Indians. And there is a lot more...

Chicago Architectural Club, 1894-1914 -- The Work of Frank Lloyd Wright, 1893-1930 and Modern Architecture : International Exhibition, Museum of Modern Art, 1932 -- Broadacre City, 1935 -- Museum of Modern Art, 1933-53 -- The Italian exhibition and Sixty Years of Living Architecture, 1951-56 -- Coda: 1957-59 -- Conclusion -- Appendix A. Chronological list of exhibitions -- Appendix B. Chronological list of models

Poems about what the students in Mrs. Brown's class see and do during their school field trips to a variety of museums. Includes a list of some museums in different states.

All museum activities converge in the public forum of the exhibition – regardless of whether the exhibit is held in the physical museum or is on the Web. Since the first edition of this book in 2002, there has been a world-wide explosion of new galleries and exhibition halls, and new ideas about how exhibitions should look and communicate. The definition of what an exhibition is has changed as exhibitions can now be virtual; non-traditional migratory and pop-up spaces play host to temporary displays; social media has created amazing opportunities for participatory engagement and shifted authority away from experts to the public; and as time-constrained audiences demand more dynamic, interactive, and mobile applications, museum leadership, managers, staff, and designers are rising to these challenges in innovative ways. Drawing on years of experience and top-flight expertise, Barry Lord and Maria Piacente detail the exhibition process in a straightforward way that can be easily adapted by institutions of any size. They explore the exhibition development process in greater detail, providing the technical and practical methodologies museum professionals need today. They’ve added new features and expanded chapters on project management, financial planning and interactive multimedia while retaining the essential content related to interpretive planning, curatorship, and roles and responsibilities. This second edition of the standby Manual of Museum Exhibitions is arranged in four parts: Why – Covering the purpose of exhibits, where exhibit ideas come from, and how to measure success Where – Covering facilities and spaces, going into details including security, and interactive spaces What – A look at both permanent collection displays, and non-collection displays, as well as virtual, participatory, temporary, travelling displays, and retail sales How – Who is involved, planning, curatorship, and content development, design, multimedia, fabrication and installation, financial planning, and project management Over 130 figures and photographs illustrate every step of the exhibit process. No museum can be without this critical, detailed guide to an essential function.

Provides exhibit designers and label writers with a step-by-step guidebook for planning, writing and producing exhibit labels.