Snapshots of Museum Experience


Book Description

Children are one of the major audiences for museums, but their visits are often seen solely from the point of view of museum learning. In Snapshots of Museum Experience, Will Buckingham draws upon Elee Kirk’s research amongst child visitors to the Oxford University Museum of Natural History, to take a different approach. Using a method of photo-elicitation with four-and five-year-old child visitors to the museum, the book investigates children’s experience of the museum, and in the process undermines many of our assumptions about the interests, needs and demands of child museum visitors. Drawing together the fields of museum studies and childhood studies, the book considers children as active creators of the museum visit. It investigates the way that children navigate and take control of the physical and social spaces of the museum, finding their own idiosyncratic pathways through these spaces. It also explores how elements of the museum ‘light up’, becoming salient to the child visitor. Finally, it investigates how children make sense through intellectually and imaginatively engaging with these elements of the museum visit. Snapshots of Museum Experience gives a unique insight into the sheer diversity of children’s museum experiences and discusses how museums might cater more successfully to the needs of their child visitors. As such, it should be of great interest to academics, researchers and students in the fields of museum studies, visitor studies and childhood studies. It should also be essential reading for museum educators and exhibition designers.




Snapshots of Museum Experience


Book Description

Children are one of the major audiences for museums, but their visits are often seen solely from the point of view of museum learning. In Snapshots of Museum Experience, Will Buckingham draws upon Elee Kirk’s research amongst child visitors to the Oxford University Museum of Natural History, to take a different approach. Using a method of photo-elicitation with four-and five-year-old child visitors to the museum, the book investigates children’s experience of the museum, and in the process undermines many of our assumptions about the interests, needs and demands of child museum visitors. Drawing together the fields of museum studies and childhood studies, the book considers children as active creators of the museum visit. It investigates the way that children navigate and take control of the physical and social spaces of the museum, finding their own idiosyncratic pathways through these spaces. It also explores how elements of the museum ‘light up’, becoming salient to the child visitor. Finally, it investigates how children make sense through intellectually and imaginatively engaging with these elements of the museum visit. Snapshots of Museum Experience gives a unique insight into the sheer diversity of children’s museum experiences and discusses how museums might cater more successfully to the needs of their child visitors. As such, it should be of great interest to academics, researchers and students in the fields of museum studies, visitor studies and childhood studies. It should also be essential reading for museum educators and exhibition designers.




Snapshot Photography


Book Description

An examination of the contradictions within a form of expression that is both public and private, specific and abstract, conventional and countercultural. Snapshots capture everyday occasions. Taken by amateur photographers with simple point-and-shoot cameras, snapshots often commemorate something that is private and personal; yet they also reflect widely held cultural conventions. The poses may be formulaic, but a photograph of loved ones can evoke a deep affective response. In Snapshot Photography, Catherine Zuromskis examines the development of a form of visual expression that is both public and private. Scholars of art and culture tend to discount snapshot photography; it is too ubiquitous, too unremarkable, too personal. Zuromskis argues for its significance. Snapshot photographers, she contends, are not so much creating spontaneous records of their lives as they are participating in a prescriptive cultural ritual. A snapshot is not only a record of interpersonal intimacy but also a means of linking private symbols of domestic harmony to public ideas of social conformity. Through a series of case studies, Zuromskis explores the social life of snapshot photography in the United States in the latter half of the twentieth century. She examines the treatment of snapshot photography in the 2002 film One Hour Photo and in the television crime drama Law and Order: Special Victims Unit; the growing interest of collectors and museum curators in “vintage” snapshots; and the “snapshot aesthetic” of Andy Warhol and Nan Goldin. She finds that Warhol’s photographs of the Factory community and Goldin’s intense and intimate photographs of friends and family use the conventions of the snapshot to celebrate an alternate version of “family values.” In today’s digital age, snapshot photography has become even more ubiquitous and ephemeral—and, significantly, more public. But buried within snapshot photography’s mythic construction, Zuromskis argues, is a site of democratic possibility.




Now Is Then


Book Description

Deceptive in their ease of creation, diminutive size, and sheer abundance, snapshots are often thought of as the most innocent type of photography. But snapshots are complex and willful pictures—premeditated, fussed over, and often predetermined. The postures we adopt, the gestures we pantomime, the exaggerated facial expressions we compose and try to hold for a split second are all meant to express the emotional weight of a certain moment. In a time when digital cameras make photography all too easy, it is fascinating to look back on a day when image making was more deliberate. Now is Then features images from the 1920s through the 1960s, the golden age of snapshot photography. The photos—quirky, elegant, heartbreaking, and heart-warming—both celebrate and question the conventions of snapshot photography. Texts by well known visual culture critics offer fresh perspectives on the snapshots and their power over us. Unlike previous explorations of vernacular photography, Now Is Then takes a step forward to look at the broader cultural impact of snapshots—why we make them, how we use them, why they become relics, and, most importantly, what they reveal about us.




Museum Movement Techniques


Book Description

Museum Movement Techniques describes the theory and methods of an original approach using movement to learn about museum objects. Joining practical examples to its theoretical base, it provides educators with techniques, museum object selection criteria, educational linking and assessment methods to craft a "moving" museum experience.




American Snapshots


Book Description

"Collection of pictures gathered by the authors during a two-year search in which they canvassed neighborhoods and knocked on people's doors, asking to see people's dusty albums and yellowing scrapbooks."--From jacket flap




Museum and Gallery Publishing


Book Description

Museum and Gallery Publishing examines the theory and practice of general and scholarly publishing associated with museum and art gallery collections. Focusing on the production and reception of these texts, the book explains the relevance of publishing to the cultural, commercial and social contexts of collections and their institutions. Combining theory with case studies from around the world, Sarah Anne Hughes explores how, why and to what effect museums and galleries publish books. Covering a broad range of publishing formats and organisations, including heritage sites, libraries and temporary exhibitions, the book argues that the production and consumption of printed media within the context of collecting institutions occupies a unique and privileged role in the creation and communication of knowledge. Acknowledging that books offer functions beyond communication, Hughes argues that this places books published by museums in a unique relationship to institutions, with staff acting as producers and visitors as consumers.The logistical and ethical dimensions of museum and gallery publishing are also examined in depth, including consideration of issues such as production, the impact of digital technologies, funding and sponsorship, marketing, co-publishing, rights, and curators’ and artists’ agency. Focusing on an important but hitherto neglected topic, Museum and Gallery Publishing is key reading for researchers in the fields of museum, heritage, art and publishing studies. It will also be of interest to curators and other practitioners working in museums, heritage and science centres and art galleries.




Museums as Cultures of Copies


Book Description

Few institutions are warier of copies than museums. Few fields of knowledge are more prone to denounce copies as fake than the heritage field. Few discourses are as concerned with authenticity, aura, originals and provenance as those concerning exhibiting and collecting. So why is it that these are institutions, fields and discourses where copies proliferate and copying techniques have thrived for hundreds of years? Museums as Cultures of Copies aims to make the copying practices of museums visible and to discuss, from a range of interrelated perspectives, precisely what function copies fulfil in the heritage field and in museums today. With contributions from Europe and Canada, the book interrogates the meaning of copies and presents copying as a fully integrated part of museum work. Including chapters on ethnographic mannequins, digitalized photos, death masks, museum documentation and mechanical models, contributors consider how copying as a cultural form changes according to time and place and how new forms of copying and copy technologies challenge and expand museum work today. Arguing that copying is at the basis of museum practice and that new technologies and practices have been taken up and developed in museums since their inception, the book presents both heritage work and copies in a new light. Museums as Cultures of Copies should be of great interest to academics, scholars and postgraduate students working in the fields of museum and heritage studies, as well as visual studies, cultural history and archaeology. It should also be essential reading for museum practitioners.




Photography: Theoretical Snapshots


Book Description

Over the past twenty-five years, photography has moved to centre-stage in the study of visual culture and has established itself in numerous disciplines. This trend has brought with it a diversification in approaches to the study of the photographic image. Photography: Theoretical Snapshots offers exciting perspectives on photography theory today from some of the world’s leading critics and theorists. It introduces new means of looking at photographs, with topics including: a community-based understanding of Spencer Tunick’s controversial installations the tactile and auditory dimensions of photographic viewing snapshot photography the use of photography in human rights discourse. Photography: Theoretical Snapshots also addresses the question of photography history, revisiting the work of some of the most influential theorists such as Roland Barthes, Walter Benjamin, and the October group, re-evaluating the neglected genre of the carte-de-visite photograph, and addressing photography’s wider role within the ideologies of modernity. The collection opens with an introduction by the editors, analyzing the trajectory of photography studies and theory over the past three decades and the ways in which the discipline has been constituted. Ranging from the most personal to the most dehumanized uses of photography, from the nineteenth century to the present day, from Latin America to Northern Europe, Photography: Theoretical Snapshots will be of value to all those interested in photography, visual culture, and cultural history.




TV Snapshots


Book Description

In TV Snapshots, Lynn Spigel explores snapshots of people posing in front of their television sets in the 1950s through the early 1970s. Like today’s selfies, TV snapshots were a popular photographic practice through which people visualized their lives in an increasingly mediated culture. Drawing on her collection of over 5,000 TV snapshots, Spigel shows that people did not just watch TV: women used the TV set as a backdrop for fashion and glamour poses; people dressed in drag in front of the screen; and in pinup poses, people even turned the TV setting into a space for erotic display. While the television industry promoted on-screen images of white nuclear families in suburban homes, the snapshots depict a broad range of people across racial, ethnic, and class backgrounds that do not always conform to the reigning middle-class nuclear family ideal. Showing how the television set became a central presence in the home that exceeded its mass entertainment function, Spigel highlights how TV snapshots complicate understandings of the significance of television in everyday life.