Since its publication in 2008, Exhibit Makeovers has been a useful do-it-yourself handbook for museum staff and volunteers. Following the For Dummies format, Exhibit Makeovers provides grounding in interpretive principles, how-to-advice, step-by-step guidance, and moral support for in-house exhibit planning and design. The revised and expanded 2nd edition preserves the supportive tone and easy-to-follow steps that make the original Exhibit Makeovers so user-friendly. Significant revisions-especially in the technology arena-and additions make this new edition a must-have addition to any museum's toolkit: * New emphasis on visitor input, with step-by-step guidelines for evaluation studies during planning and design. * New text and worksheets to guide development of interactives, and ensure varied levels of visitor participation. * Focus on affordable software to help with exhibit planning and design, as well as low- cost technologies that can vary and deepen the visitor experience. * Brand-new chapters on exhibit design, production, and installation, written by the experienced team responsible for in-house exhibits at a thriving, mid-size museum. Following the same pattern as the 2008 original, the revised Exhibit Makeovers guides users through step-by-step processes of a single-case makeover, development of a new exhibit, and renovation/renewal of an entire gallery or museum.
The rapid development of Japan, an Asian nation, at the turn of the twentieth century, including the defeat of Russia in 1904-5, both intrigued the Great Powers in the West, as well as arousing reactions of concern and suspicion. Britain was the most important of the Powers upon which Japan was particularly keen to make a strong impression and thereby help to mitigate the rising tide of anti-Japanese sentiment in Europe, America and elsewhere. Because of the existence at this time of the Anglo-Japanese Alliance, it was also very much Japan's ambition to project herself as the 'Island Empire of the East'. A spectacular exhibition in London, therefore (to be held at White City, Shepherd's Bush), with full national commitment, was seen as a timely opportunity by Japan's Meiji government leaders to advance her agendas in political, economic and educational terms - despite the financial austerity Japan was experiencing at the time.
An overdue study of a groundbreaking event, this is the first book-length examination of the Manchester Art Treasures Exhibition of 1857. Intended to rehabilitate Manchester's image at a heady time of economic prosperity, the Exhibition became a touchstone for aesthetic, social, and economic issues of the mid-nineteenth century. Reverberations of this moment can be followed to the present day in the discipline of art history and its practice in public museums of Europe and America. Highlighting the tension between art and commerce, philanthropy and profit, the book examines the Exhibition's organization and the presentation of the works of art in the purpose-built Art Treasures Palace. Pergam places the Exhibition in the context of contemporary debates about museum architecture and display. With an analysis of the reception of both "Ancient" and "Modern" paintings, the book questions the function of exhibitions in the construction of an art historical canon. The book also provides an essential reference tool: a compiled list of all of the paintings exhibited in 1857 that are now in public collections throughout the world, with an analysis of the collecting trends manifest in their provenance.