Histories of Exhibition Design in the Museum

Cover
Endorsements
Half Title
Series Page
Title Page
Copyright Page
Contents
Figures
Contributors
Acknowledgements
Introduction: Museum Exhibition Design Histories
	Changing Narratives of Museum Exhibition Design
	Design as Process
	Labour, Emotion, and Embodiment
	Decentring Design: Identity, Collaboration, and Hierarchy in Exhibition Making
	Researching Histories of Exhibition Design
	The Structure of the Book
	References
Part 1: Exhibition Makers
1. Exhibition Work: Exploring Labour in the Federal Community Art Center Project
	The Federal Community Art Center Project: Design and Realisation
	Moving Exhibitions
	The Politics of Labour at Roswell Museum
	Exhibition Labour
	Note
	References
2. Putting Joseph Towles\' Name in the Credit Line: Institutional Racism at the American Museum of Natural History
	Part I: Light and Shadow in Museum Design
	Part II: The End of the Pygmalion Projection
	Part III: \'So Let Me Sing of Names Remembered\'
	Notes
	References
3. \'Miss Hall and Her Busy, Energetic Design Group\': The Emergence of Professional In-House Design at the British Museum
	The Birth of Professional Museum Exhibition Design
	The British Museum Realises the Utility of the Designer
	The Design Practice Hall Inherited
	Changing Practice through \'Quiet Persuasion\'
	Setting New Design Standards: Masterpieces of Glass (1968)
	Conclusion
	Notes
	References
4. An Immersive Journey: Crossroads of Continents: Cultures of Siberia & Alaska
	Developing a Concept Together
	International Travel and the Politics of Design
	Design Challenges: Language, Graphics, and Conservation
	Individual Personalities
	Crossroads on the Road
	References
5. A Latin American Model of Professional Training in Exhibition Design: Alliances, Outcomes, and Challenges
	Project Foundations: Changing Approaches to Museum Design through Alliance and Training
	Designing a Museum through Multivocality and Political Agendas
	Responding to Challenges
	Changes and New Horizons
	Foregrounding Community Initiatives and Participation: Conferences and Covid
	Conclusion
	Notes
	References
Part 2: Beyond the Museum
6. Fashioning Beaton Portraits 1928-1968 Exhibition
	The National Portrait Gallery: The Arrival of Roy Strong and a New Approach
	Reconstructing the Exhibition: Setting the Scene
	Act I: Disciplinary Exchanges
	Act II: Materialities, Entertainment, and Synaesthetic Experience
	Conclusion
	Notes
	References
7. Collaboration and Exhibition Making at Cartwright Hall: Strategies of Permanence
	Communities and Collections in Transition: Nineteenth-century Aspirations and Twentieth-century Democratisation
	\'Age of Innocence\' - Collaboration and Contradiction in Local and National Institutions
	Collaboration - Local Community Networks
	Warm and Rich and Above all Fearless: Exhibition Processes
	From Exhibiting to Collecting: Temporary to Permanent
	Conclusion
	Notes
	References
8. The Re-Crafting of Design: Towards an Ethnographic Perspective in Chinese Exhibition Design
	Ethnography and Design
	The Ethnographer and the Designer
	ATLAS Design Studio and the Dali Project: Creating a System
	Towards an Ethnographic Design Perspective for the Ethnographic Museum
	Conclusion: Beyond Containerism
	Note
	References
Part 3: The Material Culture of Display
9. The Afterlives of Labels: Materiality and Labour in the Science and Technology Exhibition Label Archive of National Museums Scotland
	The National Museums Scotland Historical Label Collection
	Labels as Historical Objects
	Labels as Evidence of Invisible Labour
	Organising
	Tracking
	Changing
	Removing
	Conclusion
	Notes
	References
10. Ethnonational Identity and Mannequins in History Museums in Korea and Japan
	Mannequins in the Osaka Museum of History
	National Museums in South Korea: Inventing Mannequins
	Mannequins for Asian Bodies
	Mannequins and the Digital World
	Conclusion
	Notes
	References
11. Exhibition Design and the Construction of Race, Gender, and Class in the First Ladies Hall of the United States National Museum
	Origins of the White House Costume Collection
	The Visual Articulation of Whiteness and Indigeneity
	The Faces of Cordelia
	References
12. \'Above All Matter of Facts\': Material Knowledge, Exhibition Culture, and the Making of Economics
	Economic Knowledge at the Fair
	Popularising Social Economy and the Welfare State in Social Museums
	War Economy on Display
	Playing with Capitalist Concepts
	Notes
	References
Part 4: Exhibition Afterlives
13. \'Gesamtwirkung\': Researching Wilhelm von Bode\'s Design for the Exhibition of Old Master Paintings (1883) as a Model for Future Museum Practice
	The Crown Prince and His Protectorate
	A Festive Exhibition
	Reconstructing Bode\'s Design (Part One)
	Bode\'s Thoughts on the Use of Space and Lighting Conditions
	Reconstructing Bode\'s Design (Part Two)
	Putting the New Concept into Practice
	Conclusion
	Note
	References
14. Visual Interventions: Exhibition Graphic Design as Critical Practice
	Exhibition Graphic Design as Critical Practice
	Exhibition Temporalities
	(Visual) Interventions
	Potential and Challenges
	References
15. The Living Area at the Sainsbury Centre: Looking Back to Look Forward
	The Sainsbury Collection: From Private to Public Space
		40,000 Years of Modern Art
		Sacred Circles: Two Thousand Years of North American Indian Art
	The Living Area in 1978
	Notes
	References
Index