Foreword by Kaywin Feldman
Preface
Acknowledgements
Part I. Foundations: The Need for Edu-Curation
1. From There to Here: In Support of Visitor-Centered
Exhibitions
Pat Villeneuve
2. Edu-Curation and the Edu-Curator
Ann Rowson Love and Pat Villeneuve
3. Rethinking Curator/Educator Training and Interaction in the
Co-Production of Art Museum Exhibitions
Brian Hogarth
Part II. Readiness: Structuring Your Approach
4. From Consultation to Collaboration: Mechanisms for Integrating
Community Voices into Exhibition Development
Judith Koke and Keri Ryan
5. Dynamic Moments: Testing High-Engagement Visitor Experiences at
the Asian Art Museum of San Francisco
Maia Werner-Avidon, Deborah Clearwaters and Dany Chan
6. Cu-Rate: Starting Curatorial Collaboration with Evaluation
Ann Rowson Love
7. Aligning Authority with Responsibility for Interpretation
Kathryn E. Blake, Jerry N. Smith and Christian Adame
Part III. Collaboration in Action
8. Beyond the Gate: Collaborating with Living Artists to Bring
Communities into the Museum and the Museum into Communities
Maureen Thomas-Zaremba and Matthew McLendon
9. Collaboration Within and Outside the Museum: Student-Written
Labels in a Featured Exhibition at the Nelson-Atkins Museum of
Art
Rosie Riordan and Stephanie Fox Knappe
10. Supported Interpretation: Building a Visitor-Centered
Exhibition Model
Pat Villeneuve
11. The Absolute Resolution Photography Exhibition: Facilitating
Visitor Engagement with Supported Interpretation (SI)
Alicia Viera, Carla Ellard and Kathy Vargas
12. Visitor as Activist: A Mobile Social Justice Museum's Call for
Critical Visitor Engagement
Monica O. Montgomery and Hannah Heller
Part IV. Seeing Inside the Process
13. Multivocal, Collaborative Practices in Community-Based Art
Museum Exhibitions
Marianna Pegno and Chelsea Farrar
14. For the Use of Art
Astrid Cats
15. Philosophical Inquiry: A Tool for Decision Making in
Participatory Curation
Trish Scott, Ayisha de Lanerolle, Karen Eslea and individual
participants
16. Teaching Visitor-Centered Exhibitions: A Duoethnography of Two
Team Members
Ann Rowson Love and John Jay Boda
Part V. Sustaining Engaged Organizational Learning
17. Complementary: Reflections on Curator-Educator Teamwork at the
Denver Art Museum
Stefania Van Dyke
18. Building a Workplace That Supports Educator – Curator
Collaboration
Jennifer Wild Czajkowski and Salvador Salort-Pons
19. Visitor-Centered Exhibition Design: Theory into Practice
Elizabeth K. Eder, Andrew Pekarik and Zeynep Simavi
About the Editors and Contributors
Index
Pat Villeneuve is professor and director of arts administration
in the Department of Art Education, Florida State University, where
she has developed graduate programs in museum education and
visitor-centered exhibitions. Pat is editor of the book From
Periphery to Center: Art Museum Education in the 21st Century and
recipient of the National Art Education Association national museum
educator of the year award in 2009. She has published and presented
extensively nationally and internationally and has developed
supported interpretation, a model for visitor-centered
exhibitions.
Ann Rowson Love is the coordinating faculty member for the museum
education and visitor-centered exhibitions program in the
Department of Art Education at Florida State University. She is
also faculty liaison to The Ringling. Ann has been a museum
educator, curator, and administrator for over 25 years. She
presents and publishes widely on curatorial collaboration, visitor
studies, and art museum interpretation.
The 19 essays in this collection introduce and explore the concept
and impact of ‘edu-curation’ with regard to exhibition development
in art museums. Edu-curation promotes equal collaboration between
art museum educators and curatorial staff. Villeneuve and Love
developed the concept of edu-curation, the tenets of which draw
from feminist systems theory. The collection is divided into five
parts: ‘Foundations: The Need for Edu-Curation,’ ‘Readiness:
Structuring Your Approach,’ ‘Collaboration in Action,’ ‘Seeing
inside the Process,’ and ‘Sustaining Engaged Organizational
Learning.’ The essays emphasize implementation of sustainable
edu-curatorial practices. The book includes both theoretical essays
pertaining to the philosophy supporting edu-curation and essays
presenting models and case studies of edu-curation in practice.
Ancillary materials include black-and-white illustrations and
graphics. This study, with its innovative research, will be of
interest to museum professionals in educational, curatorial, and
exhibitions-related roles, as well as to educators and students in
the fields of museum studies, education, and art history.
Summing Up: Recommended. Upper-division undergraduates through
faculty and professionals.
*Choice Reviews*
This book tackles the sticky arena of art museum exhibition
development with a compilation of essays by respected professionals
who have long experience experimenting with new practices for
developing visitor-centered experiences with art. The authors
importantly predict new needs for visitor-centered museums and
offer multiple examples of engaged practices between educators,
curators, and interpretive planners that encourage them slip in and
out of their disciplinary boundaries to support shared authority.
Readers will come away with useful questions and models toward
transforming the education, training and practices of museum
professionals so they may serve audiences and communities in
increasingly robust, meaningful ways.
*Swarupa Anila, Director of Interpretive Engagement at the Detroit
Institute of Arts*
Visitor-Centered Exhibitions and Edu-Curation in Art Museums is a
highly readable and informative introduction to the notion of
edu-curation. The book is wide in its reach and is a must read for
those interested in understanding more about how museum
professionals are responding to the challenge of remaking the
physical museum. Highlighting contemporary thinking around design
and research-led methods of exhibition-making, individual chapters
provide in depth case studies of change and detailed descriptions
of key projects. Collectively, the chapters offer important
insights into organizations in the midst of change and both the
challenges and opportunities that any meaningful shift to a
visitor-centered approach will entail.
*Suzanne MacLeod, Director and Head of School, School of Museum
Studies, University of Leicester*
Visitor-Centered Exhibitions and Edu-Curation in Art Museums is a
breakthrough publication in the maelstrom that includes studies on
audience engagement, museum education, free-choice learning,
meaning-making, relevancy, and curatorial voice. Villeneuve and
Rowson-Love masterfully weave together a mélange of educator,
curator, interpreter, evaluator, museum director, and academic
voices in a way that gives proportionate weight to each discipline.
Ostensibly tailored for art museums and academics, Visitor-Centered
Exhibitions and Edu-Curation in Art Museums is broadly applicable
to museums of many disciplines and international as well as
national audiences. The authors highlight the urgency and the value
in enabling informal learners to see the world through a
non-normative lens. Further, they blur the false dichotomy between
educators and curators finding common ground that gives us hope for
the future of museums and their value in crossing borders, healing
divides, and discovering newfound possibilities for developing
sustainable, dynamic organizations that are an essential component
of the fabric of our society.
*W. James Burns, Ph.D., Director, The University of Arizona Museum
of Art*
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