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Master's Projects and Capstones Theses, Dissertations, Capstones and Projects

Winter 12-16-2016

Creating Exhibits for Small History Museums on aLimited BudgetAnnveig Buggeabugge@dons.usfca.edu

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Recommended CitationBugge, Annveig, "Creating Exhibits for Small History Museums on a Limited Budget" (2016). Master's Projects and Capstones. 453.https://repository.usfca.edu/capstone/453

CreatingExhibitsforSmallHistoryMuseumsonaLimitedBudget

Keywords:ExhibitionDevelopment,HistoryMuseum,SmallMuseum,SmallBudget,MuseumStudies

by

AnnveigBugge

CapstoneprojectsubmittedinpartialfulfillmentoftherequirementsfortheDegreeofMasterofArtsinMuseumStudies

DepartmentofArt+ArchitectureUniversityofSanFrancisco

________________________________________________________________________________FacultyAdvisor:StephanieA.Brown

_________________________________________________________________________________AcademicDirector:PaulaBirnbaum

December15,2016

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Acknowledgments

Iwouldreallyliketothankmyfriends,family,andprofessorsforthesupport,andfor

gettingmethroughthiscapstoneproject.

YouhavemademyexperienceinSanFranciscotrulymemorable.

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Abstract

Inthiscapstoneproject,Istudytheprocessofdevelopinganexhibitionforsmallhistory

museums.Workingwith theTreasure IslandMuseum, a small historymuseum in San

Francisco, I explore the different options for developing exhibitions for small history

museums,withsmallbudgets, incontrast to themorewell fundedpractice that larger

museumshavetheopportunitytoproduce.Formuseums,exhibitsarethemediausedto

communicate with visitors, and it is important to install new ones regularly. Being

limited by budget and staff constraints this can be a challenge, but I argue that the

benefitsfromtheexhibitsaregreaterthanthedisadvantagesfromdevotingresourcesto

theproject.Thepaperexaminesbestpractices forexhibitiondevelopmentandproject

management and offers a solution to bringing costs down so that smaller, financially

challengedmuseumscancreatewell-constructedexhibitionsonaregularbasis.

Keywordsforthispaperare:ExhibitionDevelopment,Curation,HistoryMuseum,Small

Museum,SmallBudget,MuseumStudies

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TableofContents

ACKNOWLEDGMENTS 2

ABSTRACT 3

TABLEOFCONTENTS 4

INTRODUCTION 5

CHAPTER1:LITERATUREREVIEW 8

CHAPTER2:PROPOSALOFAMUSEUMSOLUTION 29

CHAPTER3:PROJECTPLAN 35

CHAPTER4:ACTIONPLAN 40

CONCLUSION 46

APPENDIXA:ANNOTATEDBIBLIOGRAPHY 49

APPENDIXB:PROJECTSTAKEHOLDERS 55

APPENDIXC:SWOTANALYSIS 56

APPENDIXD:GANTTCHART 57

REFERENCES 60

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Introduction

AccordingtotheAmericanAllianceofMuseums(AAM),about57percentoftheir

membersaremuseumswith0-3Staffmembers.Another21percenthave4-10

employees(AAM,11/25/2016).Accordingtothisstandard,thismeansthatthemajority

ofthemuseumsinAmericaaresmall.Havinglimitedstaffmembersandresources

becomesachallengewhenattemptingtoachievethebestpracticesincreatingan

exhibition.Thisstruggleleadstostaffhavingtoprioritizehowtoallocatetheir

resources.

Exhibitiondevelopmentcanbeoneoftheprojectsthatfallunderthelow-priority

category.Exhibitprojectscanbeextremelycostlyandtime-consuming,anditis

understandablehowsomemuseumschoosenottoprioritizethem.Inthispaper,Iwill

examinethebestpracticesforexhibitiondesignanddevelopment,anddiscussthe

differentcomponentsinordertogetabetterunderstandingofwhatgoesintothese

projects.Iwillanalyzethedifferentcomponents,anddeterminewhatexactlyitisthat

makesprojectslikethisexpensive,andpossiblewaystoreducethecosts.Basedonthis

information,Icanadaptthebestpracticesframeworktofitsmallermuseumsandshow

thatexhibitionscanbecreatedonanybudget.

Further,Iproposeaprojectthatwillaidinfacilitatingchangingexhibition

programsforsmallmuseums,whichareadaptabletothemuseum’ssize,meaningthe

numberofemployees,budget,andspace.Thisprojectaddressesthemuseum’s

responsibilitytobeopentothepublicandallowthemaccesstothecollection.Aspublic

areas,themuseumsshouldbeavailabletoeveryone,andtheyshouldstrivetobe

relevant.Newexhibitswillregularlycontributetobringingvisitorsbacktothemuseums

andcontinuinggrowthoftheinstitution.

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Theprojectwillhavethreeoverallgoalstofulfill:

1. Tocreateanexhibitionforasmallmuseumonalimitedbudget.

2. TotellthestoryofthemusicandperformingartsattheTreasureIsland

Museum.

3. Tocreateaguideonthedevelopmentofexhibitionsformuseumsonsmall

budgets,thatcanbeusedfordirectionwhendevelopingthenextexhibition

project.

Thefirstpartofthepaperwilladdressthemuseum’sbestpractices.Focusingon

literaturefromprojectswherelargebudgetswereavailableprovidesaninsighttowhat

thebestcasescenarioforexhibitionswouldbe.Withthisinmind,Icanbreakdownthe

componentsanddeterminewhatisnecessaryforanexhibitiontosucceed.Crucial

componentsliketimemanagement,agoodidea,andgoodcontent,areessential

elementsforanyexhibitionwork,anditdoesnotdependonthesizeofthebudget.Iwill

alsodiscusswhyitisimportantformuseumstohaveexhibitionsandtheresponsibility

ithastosharethecollectionwiththecommunityandfulfillingitsmission.

Thesecondpartofthepaperisaproposalforamuseum-basedprojectaddressing

thisissue.IamproposinganexhibitionfortheTreasureIslandMuseumthatwillusethe

principalsfromtheliteraturereviewtoplanasuitableprojectforthemuseum`ssizeand

budget.TreasureIslandMuseumisasmallhistorymuseumlocatedonTreasureIsland

intheSanFranciscoBay.TheIslandwascreatedtoholdtheWorld’sFairin1939,and

themuseumopenedinsideoftheoriginalmainbuildingontheislandin2007,devoted

totellingthestoryoftheisland.Themuseum’smissionis“toengagevisitorsandisland

residentswithTreasureIsland'srichculturallegacy,thenaturalwealthofYerbaBuena

Island,andtheislands'futuresustainabledevelopment,toexploreinnovativesolutions

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tothechallengesoflivinginharmonywithourenvironment”(TreasureIslandMuseum,

2016).

ThissectionaddressesthehistoryandpurposeoftheTreasureIslandMuseum,

andwhythisprojectisimportantfortheinstitution.Itisfollowedbyanactionplan,

describingeverystepoftheexhibitionprocess,fromstarttoend,andthemilestones

alongtheway.

Attheendofthepaper,youwillfindtheappendices,includingadditional

informationabouttheprojectstakeholders,anexampleofaSWOTanalysis,andthe

projectschedule.

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Chapter1:LiteratureReview

CreatingExhibitsforSmallHistoryMuseumsonaLimitedBudget

Introduction

Historymuseumsprovideaplaceforentertainmentaswellasforpeopletoengage

withthepastandfurthertheireducation.Theexhibitsarethetoolsthemuseumusesto

accomplishthosegoals.Headlinesaredrawingthepeopleinside,andthecontentis

makingthemstayandinteract(Bedford2014).Frompersonalexperience,Iknowthat

museumsarefunplacesforlearning,andIlovespendingtimethere.However,no

matterhowmuchIloveanexhibit,Iwilleventuallygrowtiredoflookingatthesame

objectsrepeatedly.Iliketoexperiencedifferentexhibitionsandwhattheyhavetooffer.

Ifthemuseumisnotchangingtheirexhibitionsfrequentlyenough,Iwillstopcoming

back,andtheyhavelostaninterestedguest.Themuseumisrelyingonthepublic’s

interesttosucceed,andinordertobringthembackforfuturevisits,themuseumsneed

togivethemareasontowanttoreturn.Makingmuseumguestscomebackisamajor

stepforfurtherdevelopmentoftheinstitution,andregularlychangingexhibitsisone

wayofaccomplishingthis.Theproblemwiththisisthatexhibitionscanbecostlyto

develop,andnotallmuseumshavetheluxuryofbeingabletoaffordexpensive

exhibitiondesignerstocreateimpressivenewexhibitsonaregularbasis.

Inthispaper,Iwillfirstexaminetheliteraturewrittenonbestpracticesfor

exhibitions.Followingthat,Iwillbreakdownthedifferentcomponentsinorderto

betterunderstandwhatmakesagreatexhibition.Iwanttodeterminethekeypointsof

whatmakesanexhibitionsuccessful.Usingthisinformation,Icanadaptthescaleofthe

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projecttofitasmallerinstitution,andprovethatitispossibletohaveachanging

exhibitionprogramonalimitedbudget.

Startingoff,Iwantedtolookatafewmuseums’missions.Themissionservesas

guidelineforwhatthemuseumisandshouldbedoing.Reviewingthiswillgivemea

betterunderstandingofthemuseum’sresponsibilityofengagingthepublic,andhow

exhibitionsareagreatwayofaccomplishingthis.

Mission1:“TheTreasureIslandMuseumengagesvisitorsandislandresidentswithTreasureIsland'srichculturallegacy,thenaturalwealthofYerbaBuenaIsland,andtheislands'forthcomingsustainabledevelopment,toexploreinnovativesolutionstothechallengesoflivinginharmonywithourenvironment”.

(TreasureIslandMuseum,2016)Mission2:“ThemissionoftheChevyChaseHistoricalSocietyistocollect,record,interpretandsharematerialsrelatingtothehistoryofChevyChase,Maryland,oneofAmerica’sfirststreetcarsuburbs.Theorganizationprovidesresourcesforhistoricalresearchandsponsorsavarietyofprogramsandactivitiestofosterknowledgeandappreciationofthecommunity’shistory”.

(ChevyChaseHistoricalSociety,2016)Mission3:“ThemissionoftheBayAreaElectricRailroadAssociationistopreservetheregionalheritageofelectricrailwaytransportationasalivingresourceforthebenefitofpresentandfuturegenerations.” (BayAreaElectricRailroadAssociation,2016)Mission4:“TheMissouriHistoricalSocietyservesastheconfluenceofhistoricalperspectivesandcontemporaryissuestoinspireandengageouraudiences”. (MissouriHistoricalSociety,2016)

ThereasonwhyIchosethesethreemuseumsisbecausetheyarehistorical

museumssimilartotheTreasureIslandMuseum.Theyvaryinsizeandbudgets,which

makesitinterestingtolookatwhattheyaretryingtoachieve.Lookingatallfour

missions,wecanseethateachoftheinstitutionshavesimilargoalsrelatedto

preservingculturalheritageforthefuture,andmethodsof“sharing”and“engaging”

theircollectionswiththepublic.Basedontheirmissions,thepublicprogramsshouldbe

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ahighpriorityandsomethingtheyshouldspendresourcesonimproving.Fulfillinga

missionismorethanjustengagingwiththepublic.However,becausethemuseumshave

differentsizesandbudgets,theyalsohavedifferentgroundsforachievingsimilargoals.

Creatinganexhibitioncanbethesolutiontosatisfyingthesemissions,butthisproject

willbeeasiertorealizeifyouhavemoreresourcesyoucandevotetotheproject.

Ifyouwishtoutilizeexhibitionsasawayofsuccessfullyfulfillingyourmission

andbuildastrongerrelationshipwiththecommunityitisimportanttogivethisproject

priority.Thisisequallyimportantforallfourmuseums,andindependentonthe

institutionssizeandbudget.

CreatinganExhibition

Therearemanysourcesavailablethatdiscussexhibitiondevelopmentinthe

museums.Bogle(2013)andMatassa(2014)wrotetwoverydifferentbooksonthe

subject;however,togethertheycomplimenteachotherwell.Althoughbothauthorsare

writingaboutthesamethings,Matassa’sbookpresentsasaneasytouseguide,while

Bogle’sbookisamoretechnicalmanual,providingtwodifferentwaystoapproachan

exhibitionproject.

Chicone&Kissel(2014),Walhimer(2015)andBedford(2014)havealsowritten

aboutcreatingexhibitions.Subsequently,Iwilllookintosomeoftheirwork,anddiscuss

theprocessesinordertounderstandwherethemajorcostsare,andhowtoadjustthem

forsmallerprojects.

Itisessentialtounderstandtheframeworkoftheprojectwhenyouarecreatingan

exhibit.Firstly,understandingthiscanpreventyoufrommakingunnecessarymistakes

thatwouldotherwisecosttimeandmoneythatyoudon’thave.Secondly,byknowing

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wheretobeginandhowtoconducttheproject,youcanmoreefficientlyusethe

resourcesavailable,manageyourprojectbetter,andcreateabetterproductintheend.

“TheBigIdea:”WhatistheExhibitionAbout?

Beforestartingtheexhibitionplanningitisimportanttohaveanideaofwhatthe

themeoftheexhibitionwillbe(Walhimer,2015)(Matassa,2014).Thisideawillbethe

redthreadthroughtheexhibit,soitisimportanttohaveawell-formedthoughtthatwill

tieeverythingtogether.Thebigideawillalsohelpsortoutthecontentfortheexhibit.If

thereareobjectsyouwanttousebutareunsureof,askyourselfiftheyareinlinewith

theidea.Iftheyare,youcanusethem.

Onceyouhaveyouridea,youneedtostartplanningthepracticalaspects.Thislist

oftipsandmistakestakenfromMatassa’sbookonorganizingexhibitionsneatly

summarizestheinformationfoundintheliteratureusedforthisproject.

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Top10tipsforasuccessfulexhibition Top10mistakes

1.Goodplanningandorganization 1.Unclearpurpose

2.Adequatebudget 2.Nosinglepersonincharge/noclearlinesofresponsibility

3.Documentation 3.Nobudget/overbudget

4.Teamwork 4.Poorcommunication

5.Goodcommunicationandnegotiation 5.Leavingeverythingtolastminute

6.Keepingtotheschedule 6.Ignoringthesmalldetails

7.Clearareasofresponsibility 7.Verbalagreements/keepingeverythinginyourhead

8.Emergencyresponse 8.Nocontingencyplan

9.Goodmaintenance 9.Displaybecomestired/shabby/uncaredfor

10.Legacy 10.Losinginterestoncetheexhibitionopens,‘nowontothenextone’.

Figure1.“Thesuccessfulexhibition”(Matassa,2014p.xxiii)

Boglepressestheimportanceofplanningoutthedifferentphasesandstickingto

theschedule.Everyaspectoftheprojecthastobeplannedout,anditisimportantto

knowwhoisinchargeofgettingthetasksdone(Bogle,2013).IagreewithBogleonthe

importanceofschedulesanddeadlines.Thisplanningallowsyoutoknowifyourproject

isontrack,aheadofschedule,orfallingbehind.Italsomakesiteasiertoknowwhen

somethingisnotgoingthewayitshould,orifyourprojectneedstobeadjusted.

MatassaandBogledonotdirectlydisagreeonanything,buttheyarepresenting

thematerialsintwoverydifferentways,whichmakesithelpfultoreadbothbooks.

Matassa’sbookisgivingyoutheoutlineoftheexhibitiondevelopmentprocess,anda

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veryeasymanualtoread,butitisnotprovidingtoomuchindepthinformation.Thisis,

however,somethingyouwillfindinBogle’sbook,butinamoretheoreticallayout.

TheTeam

Beforedecidingonateamfortheexhibitionproject,therearemultiplepointsto

consider.Howlargeisyourbudget?Howmanypeoplecanyouaffordtohaveonyour

team?Whattypeofqualitiesandskillsdoyouneedforyourteam?Willyouhaveoutside

consultants?Doyouhavetheresourcesin-house,ordoyouneedtooutsourcesomeof

thetasks?Bestpracticesuggeststhatyourteamwouldconsistofaprojectmanager,

exhibitiondeveloper,contentspecialist,exhibitiondesigner,registrars,educators,

evaluator,exhibitionfabricator,ITstaff,mediadesigners,visitorservicesmanagers,and

marketingspecialists(Chicone&Kissel,2014).However,havingsuchahugeteamis

expensive,andnotallmuseumscanaffordit.Playingoffoneanother’sknowledge,

experience,andbackgroundcanbeveryhelpful,andsaveyoualotofmoney.What’s

mostimportantisthatyouhaveaprojectmanagerorsomeonetodirecttheproject,so

thatthereisaclearleadership(Chicone&Kissel,2014;Matassa,2014;Melton,2008).

Asfortherestoftheteam,itisnotnecessarytofillalltheroleslistedaboveindividually.

Dependingontheproject’ssizeandavailablestaff,insteadofonepersononly

responsibleforthecontentoftheexhibition,theycouldhavemultiplerolessuchas

contentspecialist,registrarandexhibitionfabricator.Bymakingpeoplewearmultiple

hats,youcansafelycutmoreoftheexpensivecontractpositions.

Theproblemwithcuttingcornersisthattheproductwillnothavethesamehigh

qualityasifyouhiredprofessionalstodothesamejob.Substitutingpeoplewithyearsof

experiencewithstaffmembersthathavelittletonoexperiencewilldefinitelyimpactthe

results,butitdoesnotmeanthattheexhibitionwon’tbegoodenough.Therearealso

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moreimportantreasonsforcreatingnewexhibitsthanwantingtheresultstobe

exceptional.Themuseum’sresponsibilitytoitsmissionisthebiggestandmost

importantargumentfordevelopingnewexhibitions.Themissionisthepurposeofthe

museum,andmanymuseumshavestatementsrelatedtoeducation,sharingofobjects

and/orengagingwiththecommunity.Ifyousucceedincreateanexhibitthatis

supportingthemissionandengagingvisitorsthiswillbegoodenough.

ProjectManagement

AsMatassapointedout(seefigure1,“thesuccessfulexhibition”),goodplanning

andorganizationareimportantforasuccessfulproject(Matassa,2014).Asolidplanfor

managingtheprojectwillmakeyourendresultstronger,andthereforeIwishtolookat

literaturediscussingthemanagementofprojects.

Boglewritesabouttheimportanceofgoodtimemanagement,andshe

accomplishesthisbydividingtheprojectintodifferentphases(Bogle,2013).Doingthis,

shecreatesaclearlistoftasksthatneedscompletion,andinwhatsequence,thosetasks

getcompletedthroughouttheproject.Everyphaseandeverytaskcoincidewitha

deadline,andbyusingthissystem,youcaneasilykeeptrackofhowyourprojectis

doingintermsoftimeandmilestones.

Tocomparethemuseumpracticeformanaginganexhibitionplanningprocess,I

wantedtolookatprojectplanninginamoregeneralcontext.Melton(2008)wrote

abouthowawell-managedprojectcandeliveragoodproduct,butherapproachto

accomplishingtheprojectisdifferentfromthephasesaddressedbyBogle.Meltonis

usingaprojectdeliveryplan,whichtellsyouwhatyourprojectisaimingtodo,whatif

(potentialscenariosthatcouldimpacttheproject),whoisinvolvedintheproject,and

howwillyouachieveyourgoals(Melton,2008).SheisalsousingaProjectDeliveryPlan

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(PDP)toidentifypotentialproblemsthatcanoccurduringtheproject.ThePDPsystem

isanevaluationwhereyounotice(1)symptoms,thatwillleadyouto(2)rootcauses,

andthen(3)solutions(Melton,2008).Ultimatelyitdoesnotnecessarilymatterwhat

systemyouuseformanagingyourproject,aslongasyouknowhowtoimplementit.The

conceptisthatyouknowyourprojectandyourtimelinewellenoughtoidentifywhen

somethingiswrongsothatyoucandealwiththeproblemsoonerratherthanlater.This

conceptisequallyimportantifyouareworkingforasmallmuseumoralargefor-profit.

ThePDPsystemisallowingtheusertoidentifypotentialproblems,butthe

challengeisthatnotallproblemscanbepredicted.Itisgreattohaveasystemfor

handlingproblemsthatcouldoccur,butunforeseenproblemsthatdooccurneedtobe

handledaswell.Successfullypreventingeveryproblemfromhappeningittheoptimal

wayofconductingaproject,butitisalsounrealistic.Noteveryproblemcanbe

predicted,anditisimportantthattheteamispreparedtodealwiththemasthey

happen,aswellasworkingtopreventthem.

OnethingInoticedfromreadingMelton’sbookandcomparingittoproject

managementofmuseumexhibitions,isthedistinctivefocusonamission,limited

resources,andbudgetinafor-profitproject.Thesearecrucialconsiderationsforthe

museumtorecognize,anditwouldbeahugeissueiftheprojectdimensionswereto

change.Melton’sbookshowedlessconcernoverpotentialchangesastheirfor-profit

businessmodelwouldbeabletocoverextraexpensesandjustifytheirreasonsforgoing

overbudget.MeltonalsopresentsthebenefitsofusingaSWOTanalysistoanalyzethe

projectandinstitutionbeforestartingaproject(Melton2008).ASWOTanalysisisatool

tohelpidentifytheinstitution’sstrengths,weaknesses,opportunities,andthreats.

Identifyingthestrengthsofyourprojectcanhelpachievebetterutilizationofthe

resourcesathand.Atthesametime,youbecomeawareoftheinstitution’sweaknesses,

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andwaysyoucanusethattoyouradvantage(Melton2008).Theanalysiscanbefilled

outinaclearlyorganizedform,andmakepotentialproblemsmoretransparent.Itcan

alsobeusedtofigureouthowtoturnaweaknessintoanassetbymakingtheusertruly

analyzetheweaknessesandthreats,insteadofjustfocusingonthestrengths.Foran

exampleoftheSWOTanalysisform,seeAppendixC.

Martín-CáceresandCuenca-López(2016)alsodiscusstheuseofSWOTanalysis,

andtheyuseittostrategizethecommunicationofculturalheritageinthemuseums.

Theychoseahistoricalmuseumasanexampleanddivideddifferentaspectsofthe

museum(heritage,staff,utilities,community,relationshipswiththecommunity,funds,

educationalprograms,etc.)intocategoriesthatcouldbeindividuallyanalyzedina

SWOTmatrix.TheresultstheygotfromtheseSWOTanalyseswerefurtherusedto

conductanassessmentoftheentireinstitution,andwecanseetheresultinfigure2

(Martín-CáceresandCuenca-López,2016)

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Weaknesses Threats• Insufficientbudgetforeducational

activities• Littlestaffinvolvement• Insufficientmanagementtraining• Facilitiesnotuptoscratch• Antiquatedanddecontextualized

teachingresourcesandmaterials• Academicpurpose• Exceptionalpatrimonygiven

precedenceoversocialandidentityheritage

• Personalizationofinterestineducationalprograms

• AdministrativechangesinMuseumhierarchy

• Budgetcutsincurrentscenario• Non-inclusionofschoolcurriculamay

endupreducingthemtomereanecdote

Strengths Opportunities• Generalconsiderationofneedto

addressformalandnon-formaleducation

• Staffinterestandinvolvement,becausetheeducationalframeworkisonthefrontlineofmuseumneeds

• Fosteringvisitorparticipationinworkshops

• Imaginationincollaborationtocomeupwithinterestingandmotivatingactivitieswithscantbudget

• Populationandvisitorsneedandcallforeducationalandculturalactivities

• Importantheritagekept,althoughnotexhibited,whichcouldbecomeauserattraction

• Localitywithquantitativelyandqualitativelyrelevantheritage

Figure2.“Table10.OutcomeshighlightedbySWOTsystem”(Martín-CáceresandCuenca-López,2016p.312)

BasedontheanalysisinFigure2,wecanseethatthemuseum’sweaknessismostly

relatedtoinsufficientfunds,andmanyoftheitemslistedunderthiscategorycanbe

addressedifthemuseumhadmorefinancialsupport.Theydohoweverhavemany

strengthslistedthatcouldpotentiallyhelpgrowaninstitutionthatisbetterequippedto

addresstheweaknesses.TheSWOTanalysisisalsolistingopportunitiesforthemuseum

aswellaspotentialthreatsthatmightimpactthemuseum’sstatus.

Conductingthisanalysisismakingvisibletothemuseumtheissuestheyneedto

address,andtheopportunitiestheymightnotbeexploitingsufficiently.Itisalsoeasier

toprioritizewheretospendmoneywhenyoucanseewherethebiggestproblemis,and

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youcancreateastrategyforimprovement.ForthemuseumthatMartín-Cáceresand

Cuenca-Lópezarestudying,theeducationalprogrammightbeathingthemuseum

wouldliketoimprove.

ExhibitionLabelsandLabelContent

Writingtheperfectexhibitionlabelcanbedifficult,butwhenyoudoitright,itwill

benefitboththevisitorsandtheoverallexhibition.Thedifferentlabels(seefigure3)

havenotablerolestoplayintheexhibit,buttheyalsoworktogethertogivetheexhibita

cleanlookandwell-organizedinformation.Asweseeinfigure3,TitleLabelsare

recommendedtohavealengthof1-7words.Itspurposeistograbthevisitor’sattention

andprovideinformationaboutwhattheexhibitionisaboutinashortandengagingway.

Toprovideamoreinformativetextabouttheexhibits“bigidea”youneedIntroductory

Labels.Thesecanbelongerandmoredescriptive,butshouldnotexceed300words.

BeverlySerrellwroteabookonexhibitlabelsin2015,inwhichshebreaksdown

thedifferenttypesoflabels,whatfunctiontheyserve,andhowpeopleinteractswith

them(Serrell,2015).Herresearchprovidedverydetailedresultsthattransformedlabel

writingfromaninterpretivepracticetoascience.Serrellfoundthatpeople’sattention

spanislimited,andinordertoallowthevisitortogetthemostoutofthelabels,there

arespecificlengthsandlabeltypesthatarepreferredoverothers.

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Maintypesofinterpretivelabels

Purpose Numberofwords

Exhibitiontitles ToattractattentionToinformthethemeToidentify

1-7

Introductorylabels TointroducethebigideaToorientatevisitorstothespace

20-300

GroupLabels TointerpretaspecificgroupofobjectsTointroducesubtheme

20-150

Captionlabels Tointerpretindividualobjects,models,phenomena

20-150

Figure3,Labels(Serrell,2015,p.33)

JudyRand`sarticle,“Lessismore.Moreisless.”,supportsSerrell’sresearch,and

pointsoutthatthevisitorwillnotnecessarilyspendmoretimeinfrontofalabelifthere

ismoretexttoread.Itismorelikelythattheywillskipaheadwithoutreadingit.To

proveherpoint,sheusestheUSSConstitutionMuseumnearBostonwheretheytracked

andtimedvisitorbehaviorthroughtwoexhibits.Inthefirstexhibit,wheretheyhadlong

textpanels(morethan4,500words)thefamiliesspentanaverageof7minutesper

exhibit.Whereas,inthesecondexhibition,therewasonlyatotalof1,500wordson

activitycardsandlabelscombined,andthefamiliesspentnearly22minutes(Rand,

2016).

Theinformationprovidedbythisexperimentsuggeststhatlongandhighly

descriptivelabelscanoverwhelmthevisitorandmakethemskipthetextaltogether.

Whenthelabelsareshorter,theywilltakethetimetoreadtheinformation,spendmore

timeintheexhibition,andgenerallyhaveabetterexperience.

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KatherineLissSaffle(2013)agreeswithSerrellonthelengthofexhibitionlabels.

Nevertheless,sheismakingapointoutofusingtechnologyasasupportingtoolwith

whichthevisitorscanvoluntarilyaccessmoreinformationthanwhatexhibitionlabels

provide(LissSaffle,2013).Themuseumshouldworktoprovideasatisfactory

experiencetoeveryvisitor,andthepreferredlengthsoflabelsarehighlysubjective.For

accommodatingthevisitorsthatwantlengthylabelswithadditionalinformation

technologycanbeagreattool.Thedownsidetothisisthattechnologyisanexpensive

option,andnotallmuseumscanaffordtoprovidethisextraservice.

Allthreeauthorshavespentconsiderabletimeanalyzingtheideallabelandtrying

tocomeupwithapermanentguidemakeiteasiertowritegoodlabelsinthemuseum.

However,thisprovestobemorechallenging,wheneveryexhibitionisdifferent,every

objectrequiresadifferentamountofcontext,andeveryvisitorprefersdifferent

amountsofinformation.Intheenditischallengingtowritetheperfectlabels,butthe

researchprovidedwillhelptobreakdownthecomponentsandgettheprocessstarted.

Thiswillmakethewriterbetterequippedtomakedecisionsonthelength,contentand

mediathatshouldbeincorporatedintheexhibition.

Promoting

Promotingyourexhibitionisnecessaryinordertotellthepublicwhatyouare

doing.TherearetwomethodstoadvertiseyourmuseumthatIwouldliketoexamine.

Oneoptionistolaunchamarketingcampaign(Walhimer,2015);anotherwouldbeto

promoteyourmuseumonsocialmedia(Allen-Greil,2013).In“Museums101”Walhimer

presentsaguidetocreatingasuccessfulmarketingcampaignformuseums.Helists

importantpointsliketargetingaprimaryaudience,adescriptionofwhyvisitorsshould

cometothemuseum,a“look”thatissupportingthedescription,andaplatformto

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launchthecampaign,suchassocialmedia,print,radio,andTV.Inadditiontothis,he

alsowritesabouttheusefulnessofattainingsamples,audiencetesting,revisionand

feedback(2015).Theseareallcriticalcomponentsofasuccessfulcampaign,butgoing

throughalloftheseplatformswillcostyoualotoftimeandmoney.

Promotingyourmuseumiscrucialforitssuccess.It’satoolforthemuseumto

remindthepotentialvisitorsthatisthere,whytheyshouldvisit,andwhatisnewatthe

institution.Ifnooneknowswhatyourmuseumisdoing,youcanquestionthereasonfor

doinganythingatall.Whatisthepointofhavingexhibitionsandbeingamuseumif

nobodyisawareofit?

Onealternativeistolaunchacampaignwithwhichyoumakeyourmuseumvisible

overmultiplesocialmediaplatformsandgaintheattentionthere.Thismethodallows

onetoreachouttopotentialvisitorsandpromoteexhibitswithoutspendinglotsof

money.Havingsocialmediaaccountsforyourmuseumdoesnotcostanything,andit’sa

waytoreachouttoamorediverseaudience.Inadditiontothis,youcreateadialogue

wherepeoplecancommunicatewiththemuseum.Allen-Greilwroteaboutthisinher

article“LearningandSharingExpertisewithSocialMedia”(2013).Shepresentsthe

threeC’s:Consume,Communicate,andCollaborate;bythis,shestatesthattheusercan

accessinformationaboutthemuseumwhenevertheywantto,communicatebyasking

questionstoboththestaffandothervisitorsthroughposts,andcollaborateby

connectingwiththeusersandstafftoformmutuallybeneficialrelationships.

SocialMediaisallowinguserstoengagewiththemuseumandstrengthenthe

connectionbetweenthem,whichcreatesahugebenefitforthemuseum.EarlierItalked

abouttheimportanceofthepublic’sinterestinordertohaveasuccessfulexhibit.Social

mediaiscontributingtoarelationshipwhererelevantpartiescantakenoticeinwhat

yourinstitutionisdoing.Thisisfundamentalforalltypesofmuseums,butforasmall

Bugge 22

museumwithlimitedfunds,thiscuriositycanmakeasignificantdifference.Ifthe

communityisshowinganinterest,youhaveabetterargumentforspendingresources,

liketimeandmoney,onprojectsthatwillbenefitthepublic,likeexhibitions.These

antecedentscanalsobeapotentialsourceofincomeforthemuseum.

CritiqueoftheFinishedExhibition

Markopoulos(2012)iscommittedtotheevolutionofexhibitiondesignandwrites

abouttheadvantagesofreviewingpreviousexhibitionstodevelopnewmethodsand

practices.Itiscrucialtoreviewyourproductbothduringtheprocessanduponits

completion.Byanalyzingyourwork,orhavingotherpeopledoit,youcanunderstand

andlearnfromyourmistakesandsuccesses.Lookingatotherpeople’sexhibitionscan

beequallybeneficial.Markopoulos,supportedbyMatassa(2014),Walhimer(2015),and

Bogle(2013)allagreethatexhibitionsshouldbeevaluatedtoimprovefutureexhibits.

Byexaminingthecompletedproductandtheprocessofcreatingthework,museumscan

identifywhatstrategiesweresuccessfultotheirexhibits’development.Reviewsof

exhibitionsshowwheredidyoumakemistakes,andwhatcanbedonebetternexttime.

Alloftheseareimportantthingstotakewithyouintoyournextexhibitionproject,and

cangreatlyimprovetheexhibitionprocessandoverallmethods.Forsmallmuseumsthe

critiqueoftheexhibitionprocessiscrucial.Whenthemuseumdoesnothavethe

resourcestohireoutsideexperts,itessentialthattheylearnfromtheirownwork.This

isthebestwayforthestaffmemberstoinsurethattheproductwillimprove,andthat

theyareexpandingtheirknowledgeaboutexhibitionprojects.

Bugge 23

Cases

Tosupporttheargumentthatitispossibletocreateengagingproductswithout

thetraditionalresources,Iwouldliketolookatafewcasestudies:

SkolnickCase

Thiswasathree-daymasterclasstaughtbyLeeH.Skolnickin2006onexhibition

design.Skolnickdividedtheclassintoteamsandgavethemalocation,atheme,anda

selectionoftoolsthattheyallhadattheirdisposal.Thepointoftheassignmentwasto

createsomethingthatwasdifferentfromtheconventionalinterpretationofcontentand

explorethepotentialofdoingsomethinginnovative(Skolnick,2014).Attheendofthe

class,theywereleftwithanimpressivepresentationoftheworks,showingthatyou

don’tneedtobeanexhibitiondesignertocurateasuccessfulexhibition.

Thismasterclassisasmall-scaleproject,butitdoesdemonstrateamajorkey

point.Byallowingpeopletoworktogetherandthinkcreativelytheyareabletoproduce

outstandingandinnovatedresults.Thestudentshadalimitedtimeframeandfew

resources,buttheywerestillcapableofcreatingengagingproductsattheend.This

supportstheargumentthatsmall-scaleexhibitionprojectscanbesuccessful.Theteam

lookedatthetoolstheyhadavailable,brainstormedandworkedofeachother’sideas

andexperiences,andcameupwithstrongideasforexhibits.Ifyouknowinthe

beginningoftheprojectthatyouonlyhaveafewresourcestoworkwithandashort

timeframe,youdon’thavetimetoworryaboutallthethingsyouwishedyouhad

available.Thefinishedproductistheonlythingthatmatters.

HistoricSt.Mary`sCityCase

Onthesamesubject,butonalargerscale,HistoricSt.Mary’sCity,astate-owned

andoperatedoutdoorlivinghistorymuseum(HSMC),managedtobuildatimberframe

pavilionbyusingtheiralreadyexistingstaffandlocalresources(Faden,2012).Dueto

Bugge 24

theirbudgetcut,theycouldnotaffordtohireanexhibitiondesignerfortheirnew

project.WhattheHSMCdidhavewasabroadandvariedstaffpooltheycouldutilize.

Themuseumcouldalsoutilizethenearbysurroundings;localresourceslikeAmish

millsintheneighborhoodwouldprovidecheapertimberfortheproject,andthe

museumsrelationshipwiththecommunitygavethemtheopportunitytoraisefundsfor

theirproject.Combiningtheseresourcestheywereabletolowertheprojectexpenses

andpulledoffasuccessfulproject.

Ichosethiscasestudybecauseofhowitdemonstrateswhatkindofbenefitsthe

museum’srelationshipwiththecommunitycanprovide.Communityrelationsoffer

crucialresourcestohavingprosperousmuseum.Withoutthepublic’sinterestinthe

museum,theywouldneverbeabletogettimberbelowmarketvalueorraisemoneyfor

thenewpavilion,provingthatthisconnectionwiththeneighborhoodcanbecentralfor

amuseum’ssuccess.Withouttheseconnectionstheentirebudgetcouldpotentiallyhave

beenshifted,andmadeitimpossibleforthemuseumtofinishtheexhibit.

SouthernOregonHistoricalSocietyCase

ThethirdcaseIwishtolookatishowtheSouthernOregonHistoricalSociety

(SOHS)rebuiltitselfafterlosingallitsgovernmentfunding.Inordertoavoidbankruptcy

themuseumhadtoreinventitselftomakeupforthelossoffinancing.In2009,they

wereoperatingwitha$35,000deficit,touristseasonwasending,andthemuseumdid

nothaveanyincome.Theboardsuspendedpublicoperationsforsixmonthsandfireda

majorityofthestaff,butstill,themuseumwaslosingmoney.SOHShadtoreestablish

itself,andtheyaccomplishedthisbyusingthe“threeR’sinmuseummanagement,

relevance,relationships,resources”(Weiss,2012).Whilethemuseumviewedthe

financialsituationasitsbiggestproblem,likeWeisspointedout,thereweremore

Bugge 25

intrinsicissuesathandthatwouldhavetobeaddressedbeforethemuseumcouldstart

growingagain.

“Lackoffundingwasthesymptomoftheunderlyingproblem,whichwasalackof

widespread community engagement and support. In order to win back the

community,itwasessentialtoinvolvethecommunityintheprocessofrebuilding

thehistoricalsocietyandovercomethetendencytotakethesocietyforgranted.”

(Weiss,2012)

TheSOHSreachedouttotheircommunityandrecruitedvolunteers.Theyalsoreached

outtootherhistoricalsocietiesintheareaandbuiltrelationshipswiththem.Bydoing

so,theygainedresourcesthatwouldhelptheirmuseumregaintheirfinancialandsocial

stability.Theyalsofoundwaysofusingtheirfacilitiesasaresource,suchasrentingit

outforevents.Thisallowedthemtogainanotherincome,andatthesametime

strengthenedtheirrelationshipwiththecommunity(Weiss,2012).

ThecasewithSOHSproveshowimportantitistohaveapartnershipwiththe

community.Relevance,relationships,andresourcesarenotonlycrucialforamuseum

thatweretoloseallfunding,butcanalsostrengthenamuseum’sexistingpositioninthe

firstplace.ThethreeR’sareasnecessaryforexhibitiondevelopmentastheyarefor

managingthemuseum.

Lookingatthesethreecasesyoucanseethatthenearbysurroundings,community

andindividualinterests,arepotentialresourcesforyourmuseum,anditistherefore

importanttonurturethisrelationship.Whilesmallmuseumscanfacemanychallenges,

especiallywhenitcomestomoneyandfunding,goodrelationshipsandpartnerships

withinthecommunitycanhelptheinstitutionexpandandgenerateresources.Also,the

communityisoftenthemostimportantaudienceformuseums,andthegeneraltarget

Bugge 26

forexhibitionvisitors.Thesetypesofrelationshipswillgenerateinterestforyour

museumandwillresultinahealthyandsuccessfulmuseum.ThereasonwhyIchose

thesemuseumsforthiscasestudyisthattheydemonstratehowthemuseums

successfullycantakeadvantageoftheconnectionswiththecommunity.TreasureIsland

Museumshouldexploretheopportunityofstrengtheningsimilarconnectionsandhow

thiscancontributetobuildingastrongermuseum.Lookingattheexamples,wecansee

thattherearemultiplepotentialbenefitsbyhavingstrongrelationswiththecommunity.

TheSOHSmightnothavefoundthemselvesinsuchabadsituationiftheyhadmade

moreofanefforttoberelevanttothecommunitybeforetheyhadtoreinvent

themselvestoavoidbankruptcy.HSMCdidexploititsconnectionsandwereableto

realizeaprojecttheyoriginallydidnothavetheresourcestodo.TreasureIsland

Museumcanlearnfromthisandshouldworktoimprovetheirrelationshipwiththe

community.

RecommendationsforFurtherResearch

Thebiggestgapintheliteratureappearstobethelackofpublishedarticles

writtenabouthistorymuseumsandcreatingstrongexhibitsonsmallbudgets.Ihave

beenlookingforrelevantarticles,butithasproventobedifficult.Agapinliterature

doesnotmeanyoucannotapproachthischallenge,butthatyouneedtoapproachitwith

creativityanddrawfromyourownexperienceandresourcestogetitdone.Byhaving

workshopswithyourcolleaguesyoucancreateapoolofknowledgethatwillhelpsolve

theproblem,andyoucandevelopyourownstandards,makingiteasiertodothesame

typeofprojectinthefuture(Lacher-Feldman,2014).Nonetheless,thelackofarticles

availableonthefieldsuggeststhatthereisademandforfurtherresearchonthistopic.

Bugge 27

Byexpandingtheresearchtoscienceandnaturalhistorymuseums,Iwasabletofinda

fewmoresources,buttheliteraturepoolisstillverylimited.

Conclusion

Eventhoughtheliteratureonexhibitiondevelopmentdoesexplicitlynotsayhow

muchitcoststocreateanexhibitinlinewithbestpractices,itisclearthattheentire

processcanendupbeingverycostlyformuseums.However,therearewaystocutcosts

ifyouarewillingtothinkcreativelyandyourteamispreparedtohelpoutwhereveritis

needed.Forexample,youcanusealreadyexistingstaffinsteadofhiringoutside

professionalsortalkwiththecommunityandseeifyoucanbenefitfromconnections

thatcanprovidediscountedmaterialsforyourprojects.Onecanusetheliteraturethat

isoutthere,suchasthebooksandarticlesfromthisliteraturereview,todevelopa

customizedframeworktoyourbudget,size,andneed.Thisshowsitispossibletocreate

asuccessfulexhibitionprogramforsmallermuseums.Youmightnotendupwitha

revolutionary,groundbreaking,exhibition,butbyfollowingthestandardsandusingthe

resourcesyouhaveavailable,theresultsmightbemorethansatisfactory.

Inconclusion,youcansavealotofmoneyonyourexhibitionprojectbytaking

advantageofthestaffandotherconnectionsyouhaveavailable.Theliteraturethatis

availableonprojectmanagementisdetailedenoughtoturnanypersonintoanadequate

projectmanager.Yournearbycommunityisalsoausefulresourcethatcanhelpyou

succeed.Volunteersandinternsareexcellentforgettingtasksdonewithouthavinga

highcost.

Promotingyourmuseumandwhatyouaredoingdoesnotneedtobeanexpensive

aspectoftheproject.Byusingsocialmedia,youarepresentingyourmuseuminamore

visibleway,andpromotingitwithoutpayingformorethangeneralstaffexpenses.

Bugge 28

Thebottomlineisthataslongasyouarecreativeandwillingtousewhateverresources

youhaveathand,itispossibletocreateanexhibitionprogramforsmallmuseumsand

buildahealthierinstitution.

Bugge 29

Chapter2:ProposalofaMuseumSolution

IdentificationoftheProblem

Exhibitionsarethemostcommonwayformuseumstointeractandcommunicate

withtheirvisitorsandthesurroundingcommunity.Theproblemisthatmanymuseums

operatewithasmallbudget,andexhibitiondevelopmentcanbeveryexpensive.

Operatingamuseumiscostly,anditisveryeasytoprioritizetasksotherthan

exhibitions.Spendingmoneyonthemuseummanagement,andotherback-of-house

expensecanbesmart,butitdoesmeantheexhibitionspacewillstaythesameuntilit

receivesprioritydowntheline.Asdiscussedintheliteraturereview,thisisnotinline

withmanymuseummissions.Museumshavearesponsibilitytoprovideengaging

contentforvisitors,andtokeeptheexhibitsinterestingtheyshouldregularlybe

changed.Newexhibitscancontributetobringingvisitorsbackregularly,whichagain

willhelpthemuseumbuildastrongerrelationshipwiththeircommunity,and

strengthenthemuseum’sreputationandcommunitystatus.

Accordingtomyresearch,exhibitiondevelopmentcaninmanycasesbevery

costly.However,bybeingsmartwiththemoney,itispossibletocutcostsandmakenew

exhibitscheaper.Operatingonasmallbudgetisthereforenotanexcusetoneglectthe

exhibitionprograms.Ifthedetermination,timeandcommitmentarepresent,itis

possibletodevelopaprogramforregularlychangingexhibitions.

AbriefbackgroundofTreasureIslandMuseum

TheTreasureIslandMuseum(TIM)wasestablishedatTreasureIslandmorethan

40yearsago.TheIslandwasbuilttobethelocationfortheGoldenGateInternational

Expositionin1939,whichwaslaterextendedto1940.Afterthefairclosed,theisland

Bugge 30

wasintendedtobethenewinternationalairport,butduetotheoutbreakoftheSecond

WorldWar,theislandwasinsteadlefttotheU.S.Navyandturnedintoanavalbasein

1941.TheNavyusedtheislandasabaseuntil1997.In2007,followingadecadeof

negotiations,theU.S.NavysoldTreasureIslandbacktotheCityofSanFrancisco,and

theMuseumopenedinsideoftheoriginalBuilding1,oneofthefewremainingbuildings

fromtheWord’sFair.DuringtheNavy’stimeattheIsland,therewasaNavyMuseumin

Building1.TreasureIslandtookoverpartsofthiscollection,andconsidertheNavy

MuseumapartofTIM’shistory.Todaythemuseumisasmallhistorymuseumdedicated

toconveyingthehistoryoftheisland,andthebuildinginwhichthemuseumishoused.

Theyareusingasmallroomintheentrancehallastheirexhibitiongallery,andtheirone

paidemployeemainlymanagesthecollection.Theyalsohaveaboardconsistingof11

members(TreasureIslandMuseum,2016).

MissionStatement

“TheTreasureIslandMuseumengagesvisitorsandislandresidentswithTreasure

Island'srichculturallegacy,thenaturalwealthofYerbaBuenaIsland,andtheislands'

forthcomingsustainabledevelopment,toexploreinnovativesolutionstothechallenges

oflivinginharmonywithourenvironment”(TreasureIslandMuseum,2016).

ReasonforProposingaNewExhibit

Thecurrentexhibition,“WishYouWereHere!PostcardsfromGGIE”,atTreasure

IslandMuseumopenedonMay17th,2014.Theexhibitcontainspostcardsand

memorabiliafromtheGoldenGateInternationalExposition.Sincetheexhibition

opened,themuseumhasnotdevotedanyresourcestomaintainingorupdatingthe

exhibitspace.Theexhibitionhasbeenopenforalongtime,andwhiletheboardwishes

Bugge 31

tochangeitout,theyfeeltheprocesswouldbecostlyanddemandpreciousresources,

likestaffandtime.

Atthesametime,theboardisgettingreadyforafundraisingprojectthatwilltake

upalotofthemuseum’sresourcesforthefollowingyears.TreasureIslandisbeing

redeveloped,andthemuseumispreparingforthenewenvironmentandanewphase

thatwillallowtheinstitutiontogrowintoabiggermuseum.Asaconsequenceofthis

focus,theboardisnotpreparedtospendmanyresourcesonexhibitiondevelopment.

Still,theydowishtosignalthecontinuingmanagementofthecurrentmuseum,andthey

seethebenefitsofhavingnewexhibitionsintheirgallery.

Thisprojectwillfurtherthevaluesandgoalsofthemuseumfield.WhileIwas

researchingthetopicforthepreviousliteraturereview,Iwasstrugglingtofindrelevant

sourcesdescribingexhibitionprojectsinsmallmuseums.Thisresearchleadsmeto

believethatnotmanysmallmuseumsaredocumenting,oratleastpublishingpapers,on

exhibitionprojectswithlimitedfundsandresources.Thismakesitdifficultforother

similarinstitutionstolearnfromeachother’sexperiences.Thisprojectwillattemptto

fillsomeofthatgapintheliterature,bycombiningbestpracticesandexperiences,

document,andevaluatethecurrentexhibitionproject,todevelopaguidethatcanbe

usedspecificallyinsmallhistorymuseums.Byprovidingthisguide,weareprovingthat

itispossibletocreateexhibitsonsmallbudgets,andcaninspiresimilarinstitutionsto

updatetheirexhibitpractice,insteadofneglectingit.Thiswillalsocontributetomaking

theprojecteasiertocontinueforfuturepracticesothatitcaneasilybeadaptedtothe

museum’sgrowth.

Bugge 32

ProjectProposal

Iproposeafour-monthlongprojecttorenewthecurrentexhibitionspaceatthe

TreasureIslandMuseum.Thenewexhibitionwillbeaboutthemusicandperforming

artsattheGoldenGateInternationalExposition,anditwillallowthevisitorstointeract

withanewpieceofhistoryfromthe1939-1940World’sFair.Theprojectwillbecarried

outonalowbudgetandwillbemanagedbythemuseum’sintern,underthesupervision

oftheOfficeManager.Drawingfrombestpractices,theywilladaptthetraditionof

exhibitiondevelopmenttoTreasureIsland’ssizeandbudget,andcreateanewexhibit

fortheirgallery.

GoalsandObjectives

Goal1:Createachangingexhibitionprogramforsmallmuseumswithalimitedbudget.

• Objective1A:Establishasustainablechangingexhibitionprogram.

• Objective1B:Designandconceptualizethefirstexhibitionfortheprogram.

• Objective1C:Createamarketingstrategy.

Goal2:TellthestoryofthemusicandperformingartsattheTreasureIslandWorld

Fairsin1939and1940usingthemuseum’scollections.

• Objective2A:Usethemuseum’scollectiontocommunicatethehistorythrough

objectsandphotographs.

• Objective2B:Createwellwrittentextpanelstosupporttheexhibitcontent.

Goal3:Createaguideonlow-budgetexhibitiondevelopmentforsmallmuseums,which

willbeusedforfutureexhibitions.

Bugge 33

• Objective3A:Evaluatethefirstexhibitsoutcomeandestablishwhatworkedand

didnotwork.

• Objective3B:Provideamanualonhowtocreatefutureexhibits,whichcanbe

usedbythemuseum,andsimilarinstitutionsinthefuture.

Conclusion

Amuseumhasaresponsibilitytoitsmissionandvisitorstoprovidecompelling

contentandeducationalmaterials.Creatingexhibitionsisawayforthemuseumsto

approachthisresponsibility,andatthesametimebuildastrongerinstitution.Providing

newexhibitswilldrawmorepeopletothemuseum,whichagaincanleadtohigher

ticketsalesorpossibledonations.Themuseumcanusethisincometobuildnew

exhibitions,oronotherprogramsthatmaybenefitthevisitors.Startingthisprocesscan

bechallengingandintimidatingifyoudon’thavepeopleonyourstaffwithexperience

fromsimilarprojects.Forasmallmuseumwithasmallbudgetthatwon’tallowyouto

hireprofessionalconsultants,itcanseemdifficult.Thelackofliteraturefromsimilar

projectsisalsoanobstaclethatmustbeaddressed,butanalysisofliteraturerelatedto

biggerprojectscanbeusedforinspirationandprofessionalguidelines.

Itisimportanttorememberwhyyouaredoingtheproject,andwhatyouare

gettingoutofit.Openingnewexhibitsregularlyprovesthatyourinstitutionisworking

tofulfillitsmission,andwantstobeaplacewherevisitorscanengagewithhistory.

Thereareotheraspectsofmuseummanagementthatcanbeprioritizedlikecollections

careorupdatingcatalogingsystems,butthiswillnotservethepublicatthesamelevel

asanexhibit.

Forthisprojectproposal,Iamaddressingtheissueofcreatinganexhibitona

smallbudget.Justbecausetheexhibitiondevelopmentanddesigncanbechallenging

Bugge 34

andexpensive,itdoesn’tmeanthegalleryshouldbeneglected.Byprototypinga

programforcreatingexhibitionsregularly,youareservingyourmissionaswell

providingmethodsthatcanbeusedbysimilarinstitutions,andcreatinganewpractice

yourinstitutioncanbenefitfrominthefuture.

Bugge 35

Chapter3:ProjectPlan

ProjectTitle

CreatingExhibitsforSmallHistoryMuseumsonaLimitedBudget

ProjectPurpose

Thisprojectwillallowmuseumswithsmallbudgetstoupdateandchangetheir

exhibitionsonaregularbasis.Bydoingthis,itisestablishingamorerelevantpositionin

thecommunity,aswellasfulfillingitsmission.

BackgroundandStrategicContext

Museumsoperatingonsmallbudgetscaneasilyprioritizeotheroperating

expensesinsteadofexhibits.Thegeneralassumptionisthatexhibitionsareexpensive

andnotworthdoingwithlimitedresources.Thisprojectchallengesthatopinion,

creatingaprogramwherenewexhibitionswillregularlybedevelopedonalimited

budget.

Thestrategybehindthisexhibitionprojectisthatmorepeoplewillbedevoted

andinterestedinthemuseumiftheyprovidenewcontentandareasontovisit,which

willultimatelybenefitthemuseum.Inadditiontoreflectingathrivingandinteresting

museum,thenewexhibitionprogramcanhelpthemuseumsupportitsmissionby

engagingwiththecommunity.

Priority

Themuseumboardisprioritizingtheproject,butasthemuseumisalready

committedtoaverytimeandresource-demandingproject.Whentheresourcesaretied

upinadifferentproject,thismakesitdifficulttodevotetoomuchmoneyortimetothe

Bugge 36

exhibition.Theprojectwill,therefore,beconductedasasideprojectofthemuseum’s

dailyactivities.

OtherRelatedProjects

TreasureIslandMuseumisgettingreadyforamajorfundraiserandafuturenew

phaseinarehabilitatedbuilding.Thisprojectistakingupmostoftheboard’sresources,

andprogramslikelectureseriesandothereventshavebeentemporarilysuspended.

Thereisstilladesiretokeepthedailymanagementofthemuseumgoing,andprovingto

thecommunitythatthemuseumisstilloperatingduringthisphase.

Scopeincludingkeydeliverables

Forthisprojecttosucceed,Iamstartingoffbymakingafewassumptions.The

firstassumptionisthatthemuseumiswillingtodevotetimeandmoneytotheproject.

Forittofitintomyproposalofcreatingexhibitionsonasmallbudget,thebudgetshould

belimited,butitmustcoverstaffexpenses,andleavealittleroomforsuppliesand

services.Second,Iassumethatthemuseumhasacollectionthatcanprovidecontentfor

theexhibition.

Therearealsorestrictionstoconsider.FortheexhibitionatTreasureIsland

Museum,thethemewillbemusicandtheperformingartsatthe1939-1940World’s

Fair.Anythingthatdoesnotstrengthenthisstorywillnothaveaplaceintheexhibition.

Thesamegoesforanythingthatisnotinlinewiththemuseum’smission.Themission

statesthatthemuseumshouldengagewithvisitorsandtheisland’scommunity,andthe

exhibitionshould,therefore,bedirectedatthisaudience.

Bugge 37

Theprojectisalsoconstrainedbythebudget,staffsize,availabletime,andspace.

Thechallengeistotakeadvantageoftheresourcesthatareavailableandmakethe

projectfitwithintheparameters.

Thedeliverablewillbethefinishedexhibition,andaplanforfutureexhibitionsat

theinstitution.

Governance

ProjectClient/Owner:TreasureIslandMuseum,BoardofTrustees

ProjectDepartment:Collectionsdepartment

ProjectManager:MuseumEmployee

ManageroftheProjectManager:DepartmentManager

ProjectTeamMembersandpercentageoftimetheywillworkonthisproject

Theprojectisintendedtobemanagedbyateamoftwopart-timeemployeesat

themuseum.Oneprojectmanagerwillberesponsibleforconductingthemajorityofthe

exhibitiontasksbutwillconsultwiththeofficemanager,whowillserveasanadditional

resource.Theywillbothworkpart-time,onewillapproximatelywork20hours/week

onaverage,andtheotherwillwork5-6hours/week.

Inaddition,onevolunteerboardmemberwillworkwiththeprojectmanagerto

managethemarketingaspect.Anotheremployeecanalsofillthispositionifthatis

applicable.

Threeboardmemberswillserveontheadvisorycommittee;offeradvice,

feedback,andassistanceduringtheproject.TheBoardofTrusteeswillhavethefinalsay

onmajordecisions.Theywillreceiveprojectreportsregularly.

Bugge 38

Schedule

Startdate:August1.2016

Enddate:December16.2016

Formoredetails,seeactionplan

Budget

Personnel $10,400

Supplies $20

Services $250

Other $0

Total $10,670

Allexpenseswillbecoveredundergeneraloperatingexpenses.

Note:theexpenseslistedaboveareintendedforalowbudgetproject,withvery

limitedfundsdevotedtoit.Ifmoremoneyisavailable,alargerbudgetwillbecreated,

andmoreservicescanbeacquired.Whenalong-termprojectisestablisheditmightbe

relevanttospendmoremoneytoinvestinaprintertodoallprintingin-house,and

therebybringinglong-termcostsdown.

Forprojectswithmorefundsavailable,itmightbedesirabletoconsultwithadesigner

foramoreprofessionallook.

Bugge 39

FutureProjects

Thisprojectwillbeacontinuingprogramforthemuseumandserveasafirst

steptowardscreatingnewexhibitsregularly.Ifthisprojectisasuccess,themuseumwill

developfutureexhibitions.

Bugge 40

Chapter4:ActionPlan

Followingisthelistofactionsrequiredtocompletetheproject.Foracompletelistof

tasksandtimeline,seetheGanttChartinAppendixD.

Goal1:Createachangingexhibitionprogramforsmallmuseumswithalimitedbudget.

Objective1A:Establishasustainablechangingexhibitionprogram

Actions:

1. Researchpreviousexhibitionattheinstitution

2. Researchmuseum’scollection

3. Talktostakeholdersandestablishtheirinterestandexpectationsforthe

program.

• Collectionsdepartment

• Boardmembers

• Visitors/Community

4. ConductSWOTanalysis

5. Createadvisorycommittee

6. Createexhibitionteam

7. Createexhibitionthemeoptions

8. Decideonanannualbudget

9. Decideonnumberofexhibitstocreateperyear,basedonbudget

10. Createscheduleforthechangingexhibitions

11. Providethemesforthefirstyearofexhibitssothattheycanbuildoneachother

12. Mini-Milestone:Getadvisorycommittee’sapproval

13. Milestone:Getboardapproval

Objective1B:Designandconceptualizethefirstexhibitionfortheprogram

Actions:

1. Writeouttheexpectedbudgetexpenses

2. Establishatimelinefortheproject

Bugge 41

3. Puttogetheranexhibitionteam,including:OfficeManager,ProjectManager,and

MarketingManager.Theteammemberswillberesponsibleforfinishingtheir

owntasksandworktogethertoaccomplishtheprojectgoal.

4. Identifytaskthatmustbecompletedinordertoreachtheprojectgoals

5. Dividetasksandresponsibilitiesbetweenteammembers

6. Researchnecessaryskillsrequiredtocompleteproject

7. Brainstormpossibleexhibitionthemes

8. IdentifyexhibitionthemeandsubmittoAdvisoryCommitteeforapproval

9. Researchexhibitiontheme

10. Milestone:Advisorycommitteeapproval

11. Publicannouncementofexhibitionthemeonwebsite/socialmedia

12. Identifyextracollectionresearch,offsite

13. Identifypossibleloans

14. Mini-Milestone:Decideonobjectlistforexhibit

15. Milestone:Advisorycommitteeapproval

Objective1C:Createamarketingstrategy

Actions:

1. Establishabudgetformarketing

2. ChoseMarketingmanager.Forthislow-budgetproject,thiswillbeparttime

positionfilledbyamemberofthestaff.

3. Writeatimelineforannouncements,anddecidewhattypeofmediathatwillbe

used

• Museumwebsite

• Socialmedia

• Museumnewsletter

• Newspapers

• Flyers

4. Writeadetailedscheduleforannouncementsandpostsinsocialmedia.Other

possiblemarketingplatformswillalsobeincludedinthisdetailedplan.Theposts

willannouncetheexhibition,providestatusupdatesabouttheexhibit,show

“behindthescenes”photosandvideos,andotherrelevantinformationaboutthe

upcomingexhibition.Thesocialmediapostswillbepostedonplatformslike

Bugge 42

Facebook,Instagramandthemuseumswebsiteregularly,withthegoaltomake

thepotentialvisitorsinterested.

TheMarketingManagerwillalsobepresentonsocialmediaandrespondto

activityontheaccounts.

5. Mini-Milestone:Advisorycommitteeapproval

6. Writefirstdraftforeachsocialmediaannouncement

7. Advisorycommitteefeedback

8. Seconddraftforeachannouncement

9. Milestone:Firstpublicpost.Willbeannouncingtheexhibitionandtheexhibition

theme

10. Firstsocialmediapostaboutexhibition.Thispostwillprovidemorein-depth

informationabouttheupcomingexhibition,andwillbecomplimentingthe

announcementtheweekbefore.

11. Meetwithexhibitionteamtoreceiveupdateonexhibitionprogress.This

informationwillbeusedinthefollowingposts

12. Secondpost,aboutexhibitionprogress

13. Thirdpost,announcingtheexhibitionopening

14. Milestone:Sendoutinvitationstoexhibitionopening

15. Forthpost,abouttheopeningofexhibition

16. Milestone:Analyzemarketingstrategy,writeareport

Goal2:TellthestoryofthemusicandperformingartsattheTreasureIslandWorld

Fairsin1939and1940usingthemuseum’scollections.

Objective2A:Usethemuseum’scollectiontocommunicatethehistorythroughobjects

andphotographs

Actions:

1. Researchtheexhibitiontheme

2. Researchcollectionitemsrelevanttotheexhibitiontheme

3. Mini-Milestone:Establishingastorylinefortheexhibition.Writeareport

4. Milestone:Advisorycommitteeapprovalonstoryline

5. Determineifloansfromotherinstitutionswillberequired

Bugge 43

6. Ifloansarerequired,reachouttoinstitutionsanddrawuptermsandconditions

forloans

7. Mini-Milestone:Loanagreements

8. Mini-Milestone:Finalizeobjectlist

9. Milestone:Advisorycommittee’sapprovalonobjectlist

10. Deadlineforadjustmentsmadetostorylineandobjectlist

11. Firstdraftforexhibitionlayoutanddesign

12. Mini-Milestone:Feedbackfromadvisorycommitteeondesign

13. Seconddraftonlayoutanddesign

14. Milestone:Advisorycommitteeapprovalofdesignandlayout

15. Provideoptionsforprintingservices

16. Decideifprintingofposterscanbedonein-houseorhastobeoutsourced

17. Decideonprintingservice

18. Orderprints

19. Takedowncurrentexhibition

20. Cleaningofexhibitionspace

21. Milestone:Installationofexhibit

22. Evaluationofexhibition

23. Extratimetoconductanychangesthatmustbemadetotheexhibitbefore

opening

24. Milestone:Openingofexhibit

25. Milestone:writtenreportonexhibitionprocessandresult

• Whatwentwell?

• Whatdidnotworkwell?

• Whatchangesshouldbemadetomaketheexhibitionevenbetter?

Objective2B:Createwellwrittentextpanelstosupporttheexhibitcontent

Actions:

1. Researchbestpracticesforlabelwriting

2. Writefirstdraftforlabelcontent

3. Proofreadlabelcontent

4. Seconddraftoflabelcontent

5. Mini-Milestone:Labelcontentcompleted

Bugge 44

6. Designoptionsforlabels

7. Mini-Milestone:Providetwodifferentoptionsforlabeldesigntobeapprovedby

advisorycommittee

8. Milestone:Finalapprovaloffinishedlabels

9. Printoutlabeltext

10. Mountlabelstobackboards

11. Milestone:Installlabelsinexhibition

Goal3:Createaguideonlow-budgetexhibitiondevelopmentforsmallmuseums,which

willbeusedforfutureexhibitions.

Objective3A:Evaluatethefirstexhibitsoutcomeandestablishwhatworkedanddid

notwork

Actions:

1. Teammeeting

Everypersoninvolvedinthefirstexhibitionwillgatherandtalkabouttheir

experienceswiththefirstproject

2. Evaluateandidentifytheproblemsfromthefirstexhibition

3. Evaluateandidentifywhatworkedwellwiththefirstexhibitions

4. Evaluatebudgetexpenses

5. Identify5waysthebudgetmightbespentdifferentlytoimprovetheproject

6. Evaluatemarketingstrategy

7. Identify5waysthemarketingstrategycouldhavebeenimproved

8. Brainstorming

• Whatthoughtsdotheteammembershaveaboutthingsthatcouldhavebeen

donedifferently?

• Whatideasdotheyhaveforthenextproject

9. Providealternativemethodsandideasforthethingsthatdidnotworkwellwith

thefirstexhibition

10. Evaluationoftheexhibitsoverallsuccess

11. Mini-Milestone:finishevaluation,andwriteareport

Bugge 45

Objective3B:Provideaguideonhowtocreatefutureexhibits

Actions:

1. Identifythenecessarystepsforcreatinganexhibit

2. Establishbudget

3. Identifypotentialexpensesandrisksthatmightimpactthebudget

4. Establishrecommendedtimeline

5. Identifypotentialrisksthatmightimpactthetimeline

6. Providealistofresourcesthatmightbeusedtokeepexpensesdown.

7. Includelistofpastexhibitionthemes,andideasforfutureexhibitions,

determinedintheplanningphase(Objective1a)

8. Includethemarketingstrategy(Objective1b)

9. Provideaguideforwritinglabels

10. Includerepostsandexamplesfrompreviousexhibitionsthatcanbeusedasa

reference

11. Milestone:Theproductisfinished

Bugge 46

Conclusion

EvaluatingtheProjectsSuccess

Thesuccessofthisprojectcanbechallengingtomeasure.Therearemultiple

factorsthatcanbeconsideredsuccessful.Thefirstoptionwouldbetomeasurethe

responsesofthetargetedaudience.Theproblemwiththismethodofdetermining

whetherornottheprojecthasbeensuccessfulisthatpeoplehavedifferentexperiences

withinthemuseum.Eachpersonexperiencesthingsdifferently,andeachguestwill,

therefore,alsohaveadifferentexperienceintheexhibit.Thereisalsonowrongorright

waytointerpretthecontent,soeveryvisitorhasavalidopinionthatisrelevantfor

measuringthesuccessofanexhibit.Whilestandardizedformsareaneasywayto

measurefeedbackitsdownfallisthatyouarenotreceivinganaccuraterepresentation

ofyourdatapool.Thismethodwouldalsoinvolvedevotingtimetogatherandanalyze

thecomprehensivedata,anditdependsoneveryvisitorsbeingwillingtoparticipatein

thisevaluationprocessinordertogainaholisticunderstandingoftheexhibit’s

effectiveness.

Anotherwaytomeasurethesuccessofthistypeofprojectistoreviewthe

executionoftheproject,suchas,planning,scheduling,andmaintainingthebudget.This

isequallyimportantforthistypeofprojectwheretimeandresourcesarelimited.Ifthe

projectstayedwithinthesesetparameters,thenitcouldbeconsideredasuccessful

endeavor.

Thethirdcriteriaforsuccesswillbeifthemuseumboardapprovestheplanfor

futureexhibitions.Thefirstexhibitionwillfunctionasapilottoseehowsuccessfulan

exhibitcanbeonatightbudget.Itwillalsoprovidevaluableinformationtothestaffon

Bugge 47

methodsandproceduresthatcanbeadaptedforthenextprojecttobeequally,oreven

more,successful.Iftheresultissatisfactorytotheboard,theprojectcancontinueasa

changingexhibitionprogramandthemuseumcanbenefitfromhavingmultiple

exhibitionsinthenearfuture.

Aftertheprojecthasendedallofthisshouldbeconsideredindeterminingthe

successoftheproject.Havingexhibitsisimportantforhistorymuseums,anditisthe

bestwayforvisitorstoengagewiththemuseum.Itis,however,unclearwhetherornot

smallmuseumsarewillingtomaketheexhibitionsapriorityonaregularbasis.Even

withlowcosts,itisstillnecessarytodevotestafftimetotheproject.Thislossoftime

willhaveanimpactonsomeoftheothertaskswithinthemuseum.However,dedicating

thistimewillhelpthemuseumsupportitsmission.

WhatIhavelearnedfromthisprojectisthatcreatinganexhibitionisveryexciting

endeavor.Itisalsonotdependentonhavingalargebudgetattachedtoit.WhileIwas

readingaboutexhibitiondesignanddevelopment,itdidnotexplicitlydiscusshowmuch

thiswouldcostthemuseum.Itdid,however,providealistofthingsthatwillhavetobe

doneandsuggestedhiringoutsideexperts.Hiringexpertsandpayingforsuppliescanbe

expensive,andtheseexamplestoldmethatexhibitionprojectsareexpensive.Ifyou

wanttocreatesomethingthathasneverbeendonebefore,andyouwanteverythingto

beinlinewithbestpractices,youneedtounderstandthatthesetypesofprojectscome

withalargecost.Bykeepingasmallerstaffandinhousingtasksittobemanageableon

atightbudget.Byreadingtheliteratureandthecasestudies,Ilearnedthatthereisa

frameworkthatneedstobeinplaceinordertoconductanexhibitionproject.Youneed

tohaveastaffmemberthatcanmanagetheprojectfromstarttoend.Youneedtohave

anideafortheexhibit.Youneedtohaveacollectionascontentfortheexhibition,and

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youneedtohavelabels.Besidesfromthisittherestisprettyflexible.Withwell-

exploitedresources,likebudget,staffsizeandskills,imaginationandgoodproject

planning,anyprojectcanbesuccessful.Bycreatingthefirstexhibit,youarealso

expandingyourknowledgeonthesetypesofprojects,whichwillbetterequippedyou

forthenextone.

Thepurposeofthisprojectwastoseeifitispossibleandbeneficialforsmall

historymuseumstocreateexhibits,evenundertheconstraintsofatinybudget,and

fromwhatIhavefoundIwouldsaythatitis.

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AppendixA:AnnotatedBibliography

Allen-Greil,D.(2013).Exhibitionstudies:Learningandsharingexpertisewithsocialmedia.Exhibitionist,Fall2013,86-90.

Thisarticleisaboutusingsocialmediainthemuseum,andthethreeC’s:Consume,CommunicateandCollaborate.Socialmediacanbeusedformultiplethingslikereachingpeoplewheretheyare,loweringthethresholdforinteraction,aswellasnetworkingandkeepinguptodateonthenewesttrends.Thearticlechallengesthepracticeofsharingresearchwithprofessorsandpeers,andencouragesmuseumprofessionalsstarttosharetheirresearchonsocialmediainstead.Thatway,morepeoplegetthebenefitsfromtheresearch,andmorepeoplecancollaborateandsharetheirknowledge.Promotingyourexhibitionisimportant,andsocialmediaisanexcellenttool.Itisavailabletopeople,itcanbeveryaffordable,andeveryonecandoit.FormypaperIamexploringtheopportunitiesthemuseumhastopromotethemselvesandtheirexhibits.Thekeyistopromoteandcreateonalowbudget,andthemuseumneedstobeabletoreachtheiraudienceswithoutspendingalotofmoney.Thispaperprovidesanargumentforusingsocialmediatoachievetheattentiontheyneedaswellasprovidingaplatformforconversationandfeedback.Bedford,L.(2014).Theartofmuseumexhibitions:Howstoryandimaginationcreate

aestheticexperiences.LeftCoastPress.

Thefirstpartofthisbookisabouttheeducationalpurposeofexhibitionsandthedifferentkindsofvisitorengagementwiththeexhibition.Thebookalsoreviewsahandfulofotherpeople’sworkwithmuseumpractices,includingNinaSimonandparticipatorydesign(engagingthecommunityandvisitorstocreateamoredynamicandmorerelevantmuseum),andJayRoundsandIdentitywork(Makingthevisitorsreflectontheirownidentityaswellashowotherpeopleidentifythemselves),thealternativeexhibitionmethodvs.educationalmethod(thepurposeoftheexhibitionbeingtoeducatethevisitor),story(providingastorytothevisitor),andimagination(allowingthevisitortousetheirimaginationandcreativityinordertounderstandtheexhibition).Tellingastoryisimportantfortheexhibitiontobeinteresting,butsoisleavingroomforimagination.Letthevisitorengagewithwhattheyseeandreadtomaximizetheeducationalexperience.Thisbookrelatestomyprojectbecauseitisdiscussingdifferentexhibitionpractices,andwhatyoucanaccomplishwitheachofthem.Itisalwaysgoodtobeeducatedandhaveknowledgeabouttheeffectofdifferentpractices,andthisknowledgecanbeusedtocreateagoodproduct.AtleastitcanhelpmeasanexhibitdesignertoreflectoverthechoicesIammaking,andtounderstandtheresultsImightgetfromthat.BogleE.(2013).MuseumExhibitionPlanningAndDesign.Lanham,Maryland.AltaMira

Press.Thisbookalsocoverstheaspectsofexhibitiondesignforamuseum,butinamoretechnicalandindepthway.IfeelthatthisbookcomplimentstheFredaMatassabookonorganizingexhibitions.Thetwobookstalkaboutalotofthesameissues,butwhere

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Matassaprovidesaneasystep-by-step,how-tobook,Boglegivesmoreofanacademicdescriptionofthestepsandprovidesadeeperunderstandingofwhatisgoingon.Myprojectisaboutcreatingexhibitionsonalowbudget,andtobeabletoprovideaguideonhowtoaccomplishthisitisnecessarytounderstandhowexhibitionplanninganddesigningworks,andwhatisrequiredforansuccessfulexhibit.Thisbookincombinationwithotherreadingsonthesubjectwillprovideasolidbaseformetounderstandtheprocessofcreatingexhibits,whichagainwillhelpmetoprovideaconclusionformycapstone.Chicone,S.J.,&Kissel,R.A.(2014).Dinosaursanddioramas:creatingnaturalhistory

exhibitions.LeftCoastPress.Mostofmyliteratureonexhibitiondevelopmentanddesignisfocusedonartinstallations.Thisbookoffersadifferentpointofviewbywritingaboutexhibitionsinnaturalhistorymuseums.Whereasartmuseumsareobjectfocusedwithoutnecessarilyprovidingalargercontext,naturalhistorymuseumsarefocusingontellingastoryfromaneducationalpointofview,wherethehistoryisthemostimportantpart,andtheobjectsplaythesupportiveroletothestory.Theaudienceisvisitingtheexhibitionstolearnsomething,andthisisanimportantthingtokeepinmindwhencreatingexhibitionsforahistoricalmuseum.Thisisstillanotherbookonexhibitiondesignandplanning,butitisclosertowhatIamactuallytryingtodo,andisthereforerelevant.TheotherexhibitionbooksIhaveareaboutexhibitiondesigningeneral.Thisbookisdirectlyfocusedonnaturalhistory,andasstatedabove,thereisadifferencebetweencuratingforartmuseums,naturalhistory-andhistorymuseums.TheotherthingIlikeaboutitisthatitismoredescriptiveofthestepsinexhibitiondevelopmentandisdiscussingdifferentwaysofworking,likethebenefitsofgroupwork,whotoincludeandhowtodivideroles.Faden.R.(2012)CreativeAdaption:ExhibitionsintheDownturn.ExhibitionistFall2012,

58-63.

Thisarticleisaboutahistorymuseumwithasmallbudget.HistoricSt.Mary’sCityisastateownedandoperatedoutdoorlivinghistorymuseum.Byusingtheiralreadyexistingstaffinnewways,nothiringassistantexhibitiondesigners,andusinglocalstudentsasadditionalresources,theywereabletocompletetheirpavilionprojectforhalfitsprojectedcost.Thearticleisagoodreadinordertogetsometipsonhowtogetaprojectupandrunningevenwhenyouareasmallhistorymuseumwithlimitedfunds.Limitedfundingisoneofthekeywordsformypaper,andIfeelthatreadingaboutotherprojectswherecreativeorcontroversialdecisionsweremadeinordertocutcostsarerelevantonordertoprovideinspiration,andtoshowthatitactuallyispossibletoaccomplish.Lacher-Feldman,J.(2014)CreatingtheCurator:TeachingandLearningExhibition

DevelopmentforSpecialCollectionsLibrariansandArchives.Exhibitionist,Fall2014,54-58.

Thisarticletalksabouttheauthor’sexperiencewithcuratingexhibitionsforspecialcollectionslibrariansandarchives.Shefoundthatthereisadifferenceinthewayagradstudentistrained,andtheeducationthelibrariansandarchivistshave,andthatthe

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lattermustlearnonthejob.Shealsoexperiencedthelackofresearchandbookswrittenaboutcuratingforarchives.Becauseofthisshehadtorelyonherownexperienceinthefieldaswellascollaboratingwithotherprofessionalstodeveloptheworkshopsandresearchshewanted.Ialsofoundthatthereisverylittlepublishedaboutsmallhistorymuseumsinmyresearch,andIthoughtthisarticlewasveryinteresting.Shefiguredouthowtogetaroundtheproblembydoingherownresearchandcontributingtothefield,andshegivessomegreatadviceatthesametime.FormypaperthisisrelevantbecauseIimaginealotofmuseumprofessionalsarefacingsimilarchallenges,andIthoughtthishadtoberecognized.Ifoundthereisagapinresearchrelatedtosmallhistorymuseumsandexhibitiondesign,andthisarticleisexplaininghowthisonepersonmanagedtogetaroundtheobstacles.TheotherreasonforincludingthearticleisthatSpecialCollectionsandArchivesarequitesimilartoahistoriccollection,andwhatsheiswritingcanbeappliedinmypaper.

LissSaffle,K.(2013).ReinventingMuseumLabels:OvercominganArchetypewith

TechnologyandVisitor-CenteredLabelWriting.JournalOfMuseumStudies,7(1),1-15.

Thisarticlediscussesthedifferentpracticesoflabelwriting.Wheneveryvisitorhasdifferentpreferencesinmedia,lengthandcontent,itisextremelydifficultforthemuseumtoreacheveryone.LissSaffleprovidesagoodarticleonhowtooptimizetheexperience,andcatchthevisitor’sattention.Thearticlealsoaskshowthelabelcanopencommunicationwiththevisitorsandnotonlyprovidestaticinformation,andiftechnologyisthesolutionforsomeoftheseproblems.Whatmakesthisagoodarticleisthattheauthorisdiscussingthefunctionoftheexhibitionlabel,andwhatdifferentoptionswehavetoprovideadditionalinformationforthepeoplewhowantit.However,becausewehavethepossibilityofprovidingmoreinformationdoesn’tnecessarilymeanthatweshould.Inrelationtomythesisthisdebateisinterestingbecausenotallmuseumshavefunstoprovidefancylabelsorexpensivetechnologyforvisitorstouse.Therearelessexpensivewaystocreatelabels,andthoseoptionsmightbejustaseffective.Markopoulos,L.l.(2012).TheAccidentalExhibition:ChanceasCuratorialCritiqueand

Opportunity.JournalofCuratorialStudies,1(1),6-24.Thisarticleisaboutthecuratorialpracticeandwhatcanbelearnedfromstudyingotherexhibitionsinpursuitofabetterwaytocurate.Lookingatotherexhibitionscanbehelpfultolearnmoreaboutwhat’sworking,andwhat’snot,anditcanalsobegoodforinspiration.Thisarticlecriticizesotherpeople’sworkinaconstructiveway,andreadingthisishelpfultounderstandwhatmakesagoodexhibit.Peoplelearnfromexperience,butitdoesnothavetobetheirown.Bygettingfeedbackandcriticismfromoutsidersyoulearnmoreaboutwhatisworking.Andbysharingtheexperienceandcritiquemorepeoplecanlearnforthat.

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MatassaF.(2014).OrganizingExhibitions:AHandbookForMuseums,LibrariesAnd

Archives.London,FacetPublishing.Thisbookisahandbookexplaininghowtocreateandorganizeanexhibition.Startingwithtoptentipsforsuccessandtoptenmistakes,thebooktakesthereaderthrougheveryaspectofcreatinganexhibition,andthethingstoconsiderwhenmakingdecisions.Ireallylikethisbookbecauseitissoeasytoapplytoreallife.Itisprovidingrelevantinformationonwhatmakesagoodexhibit,tipsonhowtosucceed,commonmistakestoavoid,andtheorderofwhentodowhat.Thebookcanbeconsultedwhenyouhaveaproblem,andyouwillgetapracticalanswer.Thebookisnotfocusedoncreatinglarge,impressiveexhibitioneither,soitcaneasilybeappliedinsmallermuseums,whichishighlyrelevantformythesis.Melton,T.(2008).Realprojectplanning:developingaprojectdeliverystrategy.

Amsterdam,Boston,Butterworth-Heinemann.Thisbookisnotdirectlyaboutmuseumwork,butcovershowtoconductasuccessfulproject.Goodplanningisanimportantskillforanytypeofproject,andthisbookwalksthereaderthroughthestages,fromtheinitialideatotheprojectdeliveryandbenefits.Bothwritingacapstonepaperandcreatinganexhibitareprojectsthatneedtobeplannedproperly,andthisbookwillteachmetokeepontrack.ThereasonwhyIchosetouseabookinsteadofabookaboutmuseumprojectmanagementisthatIwantedtogetadifferentpointofviewonthesubject.Ialreadyhavesourcesaboutexhibitionplanningformuseums,andIwantedtocombinethedifferenttypesofliteraturetoseeifthereisanythingthissourcemightofferthatthemuseumoncedidnotthinkabout.Thisbooktaughtmethatprojectplanningandprojectsforafor-profitisslightlydifferentfrommuseumprojectplanning.Theframeworkisbasicallythesame,butthefor-profitwillalwayshavethepossibilityofexpandingtheirbudgetstogetabetterresult.Thisbookwasstressingthesuccessfulprojectmorethanhowmuchitwouldcosttogetit.MillerL.(2011).MusicAndPoliticsInSanFrancisco:FromThe1906QuakeToTheSecond

WorldWar.Berkeley,UniversityofCaliforniaPress,pp.247-265.ThischapterpresentspracticalinformationabouttheSanFranciscoWorld’sFairs:visitornumbers,openingdatesandthecreationoftheIsland.Italsocoversthemusicaldifferencesbetweenthe1915and1939-40fairs.Thechaptergoesintodetailonwhatbandsandmusicalnumbersperformedatthefairs,comparingthem,andputtingtheminasocialcontext.MycapstonesupportstheexhibitionIamcreatingfortheTreasureIslandMuseum,whichisfocusedonthemusicofthe1939-1940fair.Thisreadingisahighlyrelevantsource,andthereforealsorelevantformycapstone.Rand,J.(2016).Lessismore.Moreisless.Exhibition,Spring2016,36-41.Thisarticleisaboutthebenefitsofwritingshortlabels,andtheimportanceofediting.JudyRandpresentsdifferentresearchonexhibitionlabelsandthevisitor’sattentionspantoprovethatlesstextismorebeneficialforthevisitor.Shealsoprovidesaten-steplisttoedittheexhibitionlabelstoshorterandbetterpanels.Thebottomlineisthat

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visitorswanttheinformationfast,andtheydon’thavethetimeormotivationtoreadalongessay.Thearticlealsopresentsfactstosupportheropinionthatshortisbetter.Thisarticleisrelevantforabetterunderstandingofhowtowritelabels,andwhatmakesalabelgood.Becausealabelissuchanindividualpreference,itisimportanttohavedifferentresearchtosupportandunderstandthechoicesyoumakeforthefinallabels.Thisarticleisrelevanttomycapstonebecauseitistalkingabouthowtowritegoodexhibitlabels.Formypapertoprovideaguidetocreatinggoodexhibitionsonalowbudget,itshouldalsoincludeasectiononwritinggoodlabels.Thatwaythemuseumisnotdependingonoutsideresourcestocreatetheexhibitionlabels.Serrell,B.(2015).ExhibitLabels:AninterpretiveApproach.London,Rowman&

Littlefield.Thisbookbreaksdownthedifferentlabelsinanexhibition,andhowtheyshouldbewritteninordertocapturethereader’sattention.Thebottomlineisthatnotalllabelsshouldbethesame,buttheyallneedtocontributesomethingmeaningful.Labelwritersshouldwriteaboutsomethingmeaningfulinaninterpretiveway.Peopleliketothinkandvisualize,sothelabelshouldgiveyouthetoolstodojustthat.Theartofwritinggoodlabelsisextremelydifficult,butthisbookbreaksitdownnicely.Inordertocreateagoodexhibit,youalsoneedreallygoodlabelsthatthereadercanengagewith.Thisisalsoarelevantchapterformythesis.Agoodexhibitisdependingongreatlabels,andthisarticleisprovidinginformationonhowtoaccomplishthis.IncombinationwithJ.RandandK.LissSaffle’sarticlesIamconfidentthatIhaveagoodbackgroundtodiscusstheimportanceoflabelswhendesigninganexhibition.

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Skolnick,L.H.(2014)MasterClass:DesignasInterpretation.Exhibitionist,Spring2014,74-78.

Thisarticleisaboutapracticalmasterclassforthirtypeopleinwhichtheyallcreatedexhibitionsinteams,supplementedbyinformativelecturesandreadings.Eachteamwasgivenalocationandthemefortheirexhibit,andwassettowork.Eachteamalsoreceivedthesametoolstheycoulduse.Theyfoundthattheteamsworkedreallywell,andtheywerenotscaredofusingthetoolscreativelytoexplorenewwaysofcurating.Ithinkthisarticleisrelevantformycapstonebecauseitchallengesthestandardwaysofcreatingexhibitions.Itpresentsacaseinwhichteamscanworktogetherinacreativeway,usewhattheyhaveavailable,andgetagoodresultatthesametime.Walhimer,M.(2015).Museums101.London,Rowman&LittlefieldThisbookbreaksdownthemuseuminawaythatiseasytounderstand.Itcoverseveryaspectfromwhatamuseumis,tohowtocreateamuseum,tohowtorunitsuccessfully.Thisbookcoversalittlebitofeverything.Prettymuchallthetasksandissuesyoumightcomeacrossinthemuseumfieldarecovered,andthereisalsoatoolkitinthebackforhowtodealwiththem.Becausetheauthorwriteaboutthemuseuminageneralway,anditisnotfocusedonanyspecializedfieldlikeart,historyornaturalhistory,itcanbeappliedtoanykindifinstitution.ThereasonIchosetoincludethisbookinmyliteratureisthatIwantedageneralsourcethattalkedalittlebitabouteverything.Thisbookisprovidingjustthat,andistalkingaboutexhibitiondesign,costs,fundraising,specificsaboutbeingasmallmuseum,andcreatingamuseummarketingcampaign.Thesesubjectsareallrelatedtomypaperoncreatingexhibitionsforsmallhistorymuseums,andisconnectingthedifferentissuesmypaperhastotouchon.

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AppendixB:ProjectStakeholders

• TreasureIslandMuseum

• TheCommunityofTreasureIsland

• TheMuseum’sDonors

• TheMuseum’sMembers

• Visitorsofthe1939-1940WordsFairandtheirfamilies

• Similarsmallhistorymuseumsthatcanbeinspiredbytheexhibitionmodel

Thestakeholderswillplayacentralroleinthisexhibitionproject.Themuseum

members,donors,andothervisitorsarethetargetsfortheexhibition,andforfuture

programshappeninginthemuseum.Thesepeopleareapartofthecommunity,andthe

museumdecriestohaveabeneficialrelationshipbetweenthemuseumandthe

community.Iftheprojectisasuccess,thecommunityatTreasureIslandcanenjoy

multipleexhibitsaboutthehistoryoftheislandtheyarelivingon,andalsocontribute

withideasforfutureexhibits.Thispartnershipwillgivethemuseumitselfastrong

audiencebase,andasolidplanforfulfillingitsmission.

Othersimilarhistorymuseumshaveastakeintheprojectbecauseitisintendedto

inspirethemtodoexhibitionprogramsthemselves.Thispilotisleadingbyexample,

provingthatitispossibletocreateexhibitionsonsmallbudgets,andhopefullyother

museumswillbeinspiredtodothesame.

Bugge 56

AppendixC:SWOTAnalysis

PlanningToolkit–SWOTTable

Project: Sponsor

Date: ProjectManager:

SWOTidentificationandanalysis

Strengths Ranking Howtostrengthen?

<Insertanidentifiedprojectstrength> <Insertranking>

<Ifthisisrankedinthetop3theninserttheactionplantofurtherstrengthenthisarea>

<Insertstrengthn>

Weaknesses Ranking Howtoeliminate?

<Insertanidentifiedprojectweakness>

<Insertranking>

<Ifthisisrankedinthetop3theninserttheactionplantoeliminatethisweakness>

<Insertweaknessn>

Opportunities Ranking Howtomaximize?

<Insertanidentifiedopportunityfortheproject>

<Insertranking>

<Ifthisisrankedinthetop3theninserttheactionplantomaximizethisopportunity>

<Insertopportunityn>

Threats Ranking Howtominimize?

<Insertanidentifiedthreattotheproject>

<Insertranking>

<Ifthisisrankedinthetop3theninserttheactionplantominimizetisthreat>

<Insertthreatn>

SWOTsummary

<Insertasummaryoftheanalysisandtheabilityoftheprojecttoresourceactionplans,thusreducingtheriskprofilefortheproject>

SWOTTable.Melton,2008p.165

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AppendixD:GanttChart

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Bugge 60

References

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