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Date: Wed, 8 Nov 1995 14:30:38 EST
From: "Byron A. Johnson (813) 228-0097" <[log in to unmask]>
Subject: Temporary Exhibit Policy
To: Remote Addressee <[log in to unmask]>
Content-type: TEXT/PLAIN
Importance: normal
A1-type: MAIL

Leslie,

In several museums I have served the procedure for temporary exhibits goes
something like this:

1) The relevant disciplinary curator develops a prospectus including theme,
consultants (if any), artifacts to be included, estimated budget, special
requirements (logistical), available or potential sponsorships, space
required, exhibition period & etc. If it is a traveling show then he/she
usually fills in any holes not covered by the prospectus generated by the
originating institution. Other staff members are welcome to suggest special
or taveling exhibits, but to avoid turf wars the disciplinary curator has
"program responsibility."

2) The proposal goes to a curatorial committee consisting of the director,
disciplinary curator, education director, exhibit designer, development
officer and curator of collections. They evaluate the proposal from their
perspectives based on a set series of questions. Some of these are: Does
the exhibit have educational bang for the buck? Can it be promoted or is it
a bore? Can sponsors be found to bear the financial costs? Are there
special handling or care requirements for the artifacts that make it a
logistical nightmare? Can an exhibit design be developed that is affordable
and effective? Are area affinity (special interest or enthusiast) groups
plugged into the development of the show? Does the proposed exhibit have
scholarly merit? Does it require a catalog and how do we pay for it? How
can the gift shop capitalize on the show? What outreach and special events
can be plugged into the process.

3) If the show passes evaluation by vote it is then scheduled and a
courtesy presentation is made to the Board of Trustees. We avoid giving the
Trustees the ability to censor (their job is policy and fund raising) --
but their ideas and concerns are welcome.

Somce curators are resistant to this sort of think tank approach, but in
these days of Enola Gay controversies, and the need to include affinity
groups, it is the only way to make sure all bases are covered. And it sure
is an educational process that broadens one's horizons. After 20 years I
still gain new perspectives.

_______________________________

Byron A. Johnson, Exec. Dir.
The Tampa Bay History Center
E-Mail: [log in to unmask]
Mail:   P.O. Box 948
        Tampa, FL  33601-0948
Phone: (813) 228-0097
FAX: (813) 223-7021
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