--Boundary (ID P77YO+VQpTVvmmQqRnSyXw) Content-type: TEXT/PLAIN --Boundary (ID P77YO+VQpTVvmmQqRnSyXw) Content-type: MESSAGE/RFC822 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 --Boundary (ID P77YO+VQpTVvmmQqRnSyXw)--