Academic literature on the topic 'Museum exhibition history'
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Journal articles on the topic "Museum exhibition history"
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Borges, Priscila Lopes d'Avila. "Museu Imperial: narrar entre as reticências da memória e as exclamações da História." Revista Discente Ofícios de Clio 5, no. 8 (2020): 187. http://dx.doi.org/10.15210/clio.v5i8.19023.
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O presente trabalho propõe a análise dos discursos produzidos na visita guiada do Museu Imperial (Petrópolis-RJ), bem como o estudo de elementos materiais da exposição permanente da instituição. A composição hegemônica formulada pelo museu, como retrato da sociedade oitocentista, promove silenciamentos ensurdecedores acerca de temas sensíveis da história do Brasil, restringindo a percepção dos visitantes. O artigo indica alguns desafios do uso pedagógico de museus históricos. Em seguida, apresenta dados coletados em visitas observadas em pesquisa de campo, entre os anos de 2017 e 2018, com o objetivo de esclarecer a natureza hegemônica das narrativas do setor educativo e da exposição permanente do museu. Finalmente, aborda dificuldades cognitivas do público escolar, decorrentes da atual relação social com o tempo, no uso do patrimônio material e memória coletiva reforçada por museus históricos, superando as fronteiras expográficas.Palavras-chave: Ensino de história; Museus históricos; Educação museal; Museu Imperial.Abstract The present article proposes an analysis of the speeches produced in the guided tour of the Museu Imperial (Petrópolis-RJ), as well as the study of the material elements of the permanent exhibition of the institution. The hegemonic composition formulated by the museum, as a portrait of 19th century society, promotes deafening silences about sensitive themes in the history of Brazil, restricting the perception of visitors. The article indicates some challenges of the pedagogical use of historical museums. After that, it presents some data collected in visits observed in field research, between the years 2017 and 2018, in order to clarify the hegemonic nature of the narratives of the museum's educational sector and permanent exhibition of the museum. Finally, it approaches cognitive difficulties of the school public arising from the current social relationship with time, in the use of material patrimony and collective memory reinforced by historical museums, overcoming expographic boundaries.Keywords: History teaching; Historical museum; Museum education; Museu Imperial.
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Bernbeck, Reinhard. "The exhibition of architecture and the architecture of an exhibition." Archaeological Dialogues 7, no. 2 (2000): 98–125. http://dx.doi.org/10.1017/s1380203800001665.
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AbstractOne of the major archaeological museums, the Pergamon Museum in Berlin, serves as an example to discuss present problems of museology. I argue that the development of museums has to be analysed from a combination of perspectives, including an historical one, that of visitors and of museum staff. In a first section, the paper outlines the history of the Pergamon Museum, including an institutional history and the larger socio–political framework. To highlight the range of possibilities of understanding, I give two readings of the museum from the viewpoints of differently oriented visitors, one colonialist, the other postmodern. I then consider current debates among curators and distinguish between two main exhibition strategies, one pragmatist, the other purist. Finally, I discuss the larger framework in which museums exist, which shows their problematic status. Using critical theory's distinction between culture industry and affirmative (elite) culture, I show that the Pergamon and other museums survive today only through an uneasy compromise between these two extreme poles of culture.
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Castro, Laura. "João Allen: Collecting the World: An Exhibition and Case Study of the First Private Museum in Portugal." Collections: A Journal for Museum and Archives Professionals 16, no. 3 (2020): 279–97. http://dx.doi.org/10.1177/1550190620939975.
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João Allen (1781–1848) was a business man who collected antiques, curiosities, natural history, numismatics, archeological pieces, and fine arts. A trip to Italy in 1826–1827 was fundamental to his collection building, to the opening of the first private museum in Portugal, the Allen Museum in Porto (1837), and to the identity of one of Portugal’s most important museums, the Museu Nacional de Soares dos Reis created in 1833 under a different designation. Allen’s Grand Tour of Italy and his eclecticism were the cornerstone of the exhibition that took place in this museum in 2018. This article addresses the way in which the exhibition reflects the museum itself and recalls the formation of collections which are of great importance for the history of European museums due to what they reveal about the political and cultural circumstances of their times. Finally, we point out some possible developments concerning the permanent exhibition of the museum.
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Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.
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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.
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Žarić, Stefan. "Muzealizacija bez muzeologije: nacionalni muzeji i izložbe mode između istorije, teorije i prakse." Issues in Ethnology and Anthropology 10, no. 4 (2016): 915. http://dx.doi.org/10.21301/eap.v10i4.7.
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Studies of the theory and history of fashion, which were up until recently grouped with culture studies, gender studies, communicology, art history and anthropology are, on the academic map of the 21st century being established as separate disciplines. Consolidating these contexts, the affirmation of fashion studies has been most prevalent within the museology of fashion, as it - or rather – fashion museology is becoming one of the leading tendencies within contemporary museum practices. This paper views fashion as a specific kind of system, coded through sociocultural codes, and finds the reason for the ever-increasing number of exhibitions of fashion on the international as well as the national museum scene in the codes of fashion which oscillate between the aesthetic and the commercial. By affirming fashion as an art form on the one hand and increasing the profitability of the institution on the other, fashion exhibitions enable museums to become „fashionable“ – to keep up with contemporary, more liberal exhibition concepts. Despite the fact that in this year there have been a large number of fashion exhibitions in national museums, fashion is still without its own museology, a scientific theory which would explain it as a museum phenomenon. The exhibits are interpreted historically, while explaining their utilitarian and aesthetic value, while the question of why fashion is exhibited as an art form or a kind of cultural production to the consumer of the exhibition - the visitor – remains unanswered. By analyzing historical events which conditioned the museum exhibiting of fashion as well as the different conceptions of its exhibition, the author strives to – through the juxtaposition of international and national exhibitions catch sight of the causes of the lack of a museology of fashion, and open up the issue of its affirmation within the professional academic and museum community of Serbia.
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Gil, Magdelena. "Exhibiting the Nation: Indigenousness in Chile's National Museums." Museum and Society 14, no. 1 (2017): 82–97. http://dx.doi.org/10.29311/mas.v14i1.627.
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This article describes the history of Chile’s national museums, focusing in particular on their exhibition of indigenous cultures. Three museums are considered: the National Museum of Natural History (originally the National Museum); the National Museum of Fine Arts; and the National Museum of History. Using museum catalogues, visitor’s guides and bulletins as sources, this research traces the role given to indigenousness in the museums’ exhibitions through time. Initially, the ‘Indian’ was presented as either part of the territory conquered by Chileans, or as not part of Chilean culture at all. By the twentieth century, however, a new narrative emerged which recognizes the indigenous people as the ‘pre-historic’ inhabitants of Chile. Most recently, a more complex narrative presents Chile as a blending of races and cultures. Overall, we see that today each museum continues to see nationhood as something that is monolithic, allowing little place for indigenous people beyond mestizaje (blending of ‘races’).Key words: indigenous, exhibitions, Latin America, national identity
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Stehlík, Michal. "Exhibition Policy of the National Museum 2017−2020." Muzeum: Muzejní a vlastivedná práce 55, no. 3 (2017): 69–72. http://dx.doi.org/10.1515/mmvp-2017-0039.
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Abstract The National Museum (NM) is preparing several temporary exhibitions in all of its buildings, along with preparing new permanent exhibitions in the New and Historical Buildings. All parts of the National Museum are incorporated in the preparation of new exhibitions, i.e. the Historical Museum, Natural History Museum, Czech Museum of Music, Náprstek Museum and the National Museum Library. In 2017, these exhibition projects are: Light and Life, Masaryk as a Phenomenon, and Indians. In 2018, the National Museum will present the Czech-Slovak / Slovak-Czech exhibition, which will reflect the 100th anniversary of the founding of Czechoslovakia, together with selected moments of Czechoslovakian history and the relationship of these two nations. 2019 could bring the opening of the grand Egyptology exposition Sun Kings and also new Natural history expositions. The remaining permanent expositions should be opened in 2020. The exhibitions in this period will likely recall some important anniversaries (1620, 1920). In future years, the renovation of the Czech Museum of Music and Náprstek Museum will take place.
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Mikule, Stanislav. "Galerijní výstavy a vlastivědná muzea." Muzeum Muzejní a vlastivedná práce 58, no. 1 (2021): 38–43. http://dx.doi.org/10.37520/mmvp.2020.005.
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The paper is based on the author‘s practice in the Regional Museum in Žďár nad Sázavou. In many cities, museums and galleries are located side by side, and museums also hold gallery exhibitions. Museums of local history have considerable potential to supplement such an exhibition with the help of other museum collection objects of a non-artistic nature, such as the document of time of life and work of a given artist or related to the theme of the presented work. This makes the exhibition attractive to a wider range of visitors. The author describes art exhibitions in which collection items from various areas of human activity, realized in the Žďár Regional Museum, were connected and presents them as inspiration or a topic to reflect on colleagues from the field who do not yet use the potential of their collection items in a similar spirit.
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Liebhold, Peter. "The Washington City Museum." Public Historian 26, no. 4 (2004): 73–82. http://dx.doi.org/10.1525/tph.2004.26.4.73.
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Overview Exhibition: Washington Perspectives; Multimedia-show: Washington Stories. Exhibition team: Barbara Franco, president and CEO; Susan Schreiber, vice president for programs; Jill Connors-Joyner and Laura Schiavo, exhibitions curators; GSM Design of Montreal, Canada, designer. City Museum of Washington, D.C., May 2003–present. www.citymuseumdc.org
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Heesen, Anke Te. "On the History of the Exhibition." Representations 141, no. 1 (2018): 59–66. http://dx.doi.org/10.1525/rep.2018.141.1.59.
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This comment on The Object as Ambassador forum provides the basis for a deeper understanding of the history of exhibitions through its historical analysis of the terms museum, collection, and exhibition.
Dissertations / Theses on the topic "Museum exhibition history"
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McCormack, Bernadette. "Blockbustering Australian style: Evolution of the blockbuster exhibition in Australian museums." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/200164/1/Bernadette_McCormack_Thesis.pdf.
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This research critically evaluates the development of the blockbuster exhibition within an Australian museum context. Drawing on semi-structured interviews, reflective practice, and critical historiography, this research argues that current iterations of the blockbuster genre have given rise to a new ecology of 'attractor' exhibitions that are fundamental to visitor engagement strategies in the 21st century Australian museum. These findings are then operationalised in a practical field guide for the implementation of blockbuster exhibitions, providing new knowledge for the Australian museum practitioner to employ in contemporary industry practice.
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Steyn, Sune-Marie. "A contemporary museum experience : the design of a new satellite museum for the Ditsong: National Museum of Cultural History in Pretoria." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/30284.
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This dissertation originated from an interest in museum architecture and the desire to improve museum experiences for the inhabitants of Pretoria. The city is in need of a museum that does not distinguish between different cultures and backgrounds, and that provides an experience that a regular city user can relate to. This dissertation aims to address this need with the creation of a museum that relies on a chance museum encounter in an everyday place. This museum encounter will enrich people’s daily city experiences and provide opportunity for self-reflection and contemplation. The dissertation proposes a new satellite museum for the existing Ditsong: National Museum of Cultural History as a method of exposing the public to this museum. This satellite museum will function as a branch of the larger museum. The aim of this satellite museum is to provide regular users of the city with an unexpected museum experience. This dissertation considers what a contemporary museum in the inner city of Pretoria should be in terms of function and architectural implementation. The document investigates contemporary trends in museum architecture and evaluates existing museums in Pretoria. It also includes an investigation into culture in South Africa and into the relation of the satellite museum to its context. The study concludes that a contemporary museum experience is one that facilitates continuous change, and provides a spatial experience that blurs the threshold between the new museum and existing public space.<br>Dissertation (MInt(Prof))--University of Pretoria, 2011.<br>Architecture<br>unrestricted
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Hamalainen, Bonnie. "Stories in Stone: Interpreting history in the context of a museum exhibition." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/10.
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This project examines opportunities for history exhibition design practices. Research into museum studies and creative work in typography, photography, graphic design and architecture result in curation and design of a prototypical exhibit about the granite quarrying industry of Stonington, Maine.
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Iguchi, Hisao. "Environmental education through museums : a case study of the ecology exhibition in the Natural History Museum, London." Thesis, University College London (University of London), 1995. http://discovery.ucl.ac.uk/10020238/.
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Nordmark, Petter. "Genus och den utställda vikingen : Genusuttryck i vikingautställningen Welt der Wikinger från 1972." Thesis, Södertörns högskola, Lärarutbildningen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-41540.
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The aim of this study is to examine the temporary museum exhibit World of the Vikings (Welt der Wikinger), created by Sweden’s Statens Historia Museum (SHM), through the lenses of gender and pedagogical analysis. The exhibit which was planned to be showcased in the German city of Kiel in time for the sailing Olympics in 1972 and had several goals in mind. The primary goals were to showcase models of Viking ships and achievements of their ship art (to coincide with the sailing Olympics), provide an overview of the Viking Age and showcasing all its different aspects as opposed to just the infamous warrior. Using a gender theory and the overarching analyst method ‘The Feminist Museum Hack’, primarily utilizing a discourse analysis and a visual method (as well as comparative reading, a quantitative method and content analysis, depending on which objects were analysed), this study examines archival material of the exhibit in order to unveil both gender and pedagogical aspects. The material used, consisting of protocols, memos, exhibition texts, booth overviews (consisting of photographs), catalogues and letter correspondents, provide an extensive look into the exhibit, its purposes as well as the overall structure. The main findings of this study are that the exhibit had a clear pedagogical goal in mind, as its content was divided into different parts and chapters to detail various parts of the Viking Age, including their everyday life. Several artifacts collected from various museums were showcased, and the exhibition texts were designed to both educate its visitors and inspire to seek further knowledge. Nuancing gender roles was not part of its purpose, which is confirmed by a gender analysis of the exhibit. A significant portion of the Nordic people mentioned were men while only a few women were mentioned, but most of the featured men and women were also from a higher hierarchical standing. In terms of expression of gender and gender roles, men were the primary focus in describing and showcasing everyday Nordic life, whereas the women remained passive and secondary. Through the exhibit material, it is clear the roles and chores performed by men were deemed of a higher importance.
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Baker, Daniel Alexander. "Technologies of encounter : exhibition-making and the 18th century South Pacific." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13703/.
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Between 1768 and 1780 Captain James Cook led three epic voyages from Britain into the Pacific Ocean, where he and his fellow explorers- artists, naturalists, philosophers and sailors, were to encounter societies and cultures of extraordinary diversity. These 18th Century South Pacific encounters were rich with performance, trade and exchange; but they would lead to the dramatic and violent transformation of the region through colonisation, settlement, exploitation and disease. Since those initial encounters, museums in Britain have become home to the images and artefacts produced and collected in the South Pacific; and they are now primary sites for the representation of the original voyages and their legacies. This representation most often takes the form of exhibitions and displays that in turn choreograph and produce new encounters with the past, in the present. Drawing on Alfred Gell's term 'technologies of enchantment' my practice reconceives the structures of exhibitions as 'technologies of encounter': exploring how they might be reconfigured to produce new kinds of encounter. Through reflexive practice I critically engage with museums as sites of encounters, whilst re-imagining the exhibition as a creative form. The research submission takes the form of an exhibition: an archive of materials from the practice, interwoven with a reflective dialogue in text. The thesis progresses through a series of exhibition encounters, each of which explores a different approach to technologies of encounter, from surrealist collage (Cannibal Dog Museum) and critical reflexivity (The Hidden Hand), to a conversational mode (Modernity's Candle and the Ways of the Pathless Deep).
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Quinn, Lisa A. "Contemporary Curatorial and Exhibition Practices at Twenty-First Century Academic Art Museums." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1547208446490768.
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Sutton, Sarah Catherine. "PENNHURST: AN EXPLORATION OF EXHIBITION AND COLLECTION CARE INSIDE A HAUNTED ASYLUM." Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/446956.
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History<br>M.A.<br>This study is an imaginative exercise which explores the use of historic artifacts at the haunted attraction Pennhurst Asylum in Spring City, Pennsylvania. It is understood here that the use of historic artifacts from the former Pennhurst State School within Pennhurst Asylum inevitably tethers the attraction to the difficult history of Pennhurst State School. This study explores the convergence of dark tourism, exhibiting difficult history, and performance as historical interpretation. Within the context of collections management and public history, Pennhurst Asylum acts as a case study exploring what can happen when difficult history is exploited and commodified.<br>Temple University--Theses
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Hollis, Alan D. "Implementing Best Practices of Museum Exhibition Planning: Case Studies from the Denver, Colorado Art Museum Community." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279314066.
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Naile, Meghan Theresa. "Like Nixon to China: The Exhibition of Slavery in the Valentine Museum and the Museum of the Confederacy." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1972.
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This study analyzes two successful exhibitions on American slavery in the South: In Bondage and Freedom: Antebellum Black Life in Richmond, Virginia, 1790-1860 by the Valentine Museum and Before Freedom Came: African American Life in the Antebellum South by the Museum of the Confederacy. It puts the exhibitions in the context of the social history movement, and explains the difficulties exhibiting a sensitive topic. It examines the creation of the exhibitions, the controversies because of the subject, both real and potential, and the overwhelmingly positive reaction.
Books on the topic "Museum exhibition history"
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de, Werd Guido, Mönig Roland, Museum Kurhaus Kleve (Kleve, North Rhine-Westphalia, Germany), and Museum Wiesbaden, eds. Robert Indiana: Museum Kurhaus Kleve, Museum Wiesbaden. Museum Kurhaus Kleve, 2007.
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Vegesack, Alexander von. Bořek Šípek: The nearness of the far : architecture-design : Vitra Design Museum. Vitra Design Museum, 1992.
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1881-1973, Picasso Pablo, Fraquelli Simonetta, Geelhaar Christian, FitzGerald Michael C, and Kunsthaus Zürich, eds. Picasso by Picasso: His first museum exhibition 1932. Kunsthaus Zürich, 2010.
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Koshino, Hiroko. Koshino Hiroko exhibition 2004: At Ashiya City Museum of Art & History. Ashiya Shiritsu Bijutsu Hakubutsukan, 2004.
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Nielsen, Arno V. Museum Europa: An exhibition about the European museum from the Renaissance to our time. Danish National Museum, 1993.
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From Picasso to Pollock: Modern art from the Guggenheim Museum : [exhibition] Guggenheim Museum. S.R. Guggenheim Foundation, 2003.
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Art, Whitney Museum of American. 1993 biennial exhibition. Whitney Museum of American Art, in association with Harry N. Abrams, Inc., 1993.
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A living exhibition: The Smithsonian and the transformation of the universal museum. University of Massachusetts Press, 2013.
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1926-, Alderson William T., American Association of Museums, Baltimore City Life Museums, and Peale Museum, eds. Mermaids, mummies, and mastodons: The emergence of the American museum : [exhibition]. American Association of Museums, 1992.
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Museum of Modern Art (New York, N.Y.), ed. The power of display: A history of exhibition installations at the Museum of Modern Art. MIT Press, 1998.
Find full textBook chapters on the topic "Museum exhibition history"
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Pietrobruno, Sheenagh. "Tales of the Viking Helmet: Narrative Shifts from Museum Exhibitions to Personalised Search Requests." In Museum Digitisations and Emerging Curatorial Agencies Online. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_3.
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AbstractThe stories of museum objects on YouTube can counter and support those advanced by museums. How the narratives of the Viking helmet on YouTube reflect or differ from those put forward by the Swedish History Museum’s Viking exhibitions is approached through a previous methodological study that investigated the issue of location in the personalisation of historical narratives of museum objects on YouTube search engine result pages (SERPs) (Pietrobruno 2021). This revised method combining language with location brings together two media forms—actual museum exhibitions and personalised YouTube SERPs. The philosophy behind their interconnection is rooted in how the personalised content of SERPs produce meaning and museum exhibitions employ forms of individual customisation to generate meaning by enabling visitors to personalise their exhibition experience.
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Alessandrini, Michela. "‘Repetition: Summer Display 1983’ at Van Abbemuseum." In Cultural Inquiry. ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_23.
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The reactivation of Rudi Fuchs’ 1983 exhibition ‘Summer Display’ took place in 2009 as part of the collection series, ‘Play van Abbe part 1: The Game and the Players’, and was entitled ‘Repetition: Summer Display 1983’. The reconstruction questioned the codes and systems used within (but also consciously and unconsciously outside) the museum and raised several questions, including: what story did the original composers want to tell, and how can this piece of history be understood today? Is the new presentation a separate exhibition entirely or a copy of the ‘original’ one? What is then the difference between the idea of copy, repetition, and reenactment? And what is the role of the museum’s archive in the process of restaging? What can curatorial institutional archives tell us about the museum itself?
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Pozzi, Laura. "China, the Maritime Silk Road, and the Memory of Colonialism in the Asia Region." In Regions of Memory. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93705-8_6.
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AbstractThis chapter analyzes how the city museums of Shanghai, Hong Kong, and Galle Fort deal with the memory and legacy of colonialism in the framework of the expanding economic and political power of the People’s Republic of China (PRC) in Asia. In the PRC, the historical memory of the country’s colonial past has been shaped by the Chinese Communist Party (CCP). In contrast to the transnational nature of the communist ideology, the CCP’s interpretation of history is strongly nationalist. China’s political expansion in the ex-British colony of Hong Kong and its economic ties to other Asian countries such as Sri Lanka open space for a discussion about its power to influence these countries’ understanding of their own history. How is the expansion of China, defined by many as a neo-colonial power, changing the way other countries in Asia understand the colonial past? Is China able to exports its own vision of colonialism and post-colonial order outside its own borders? This chapter answers these questions through an analysis of the permanent exhibitions of three city museums: The Shanghai History Museum; the Hong Kong Museum of History, and the Galle Fort Museum in Sri Lanka, part of the “One Belt, One Road” project.
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Gorzelany-Nowak, Dorota. "The Overlooked Collection: The Ancient Art Collection of the Princes Czartoryski Museum." In Collecting Antiquities from the Middle Ages to the End of the Nineteenth Century: Proceedings of the International Conference Held on March 25-26, 2021 at the Wrocław University Institute of Art History. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381385862.06.
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Without a doubt, the Princes Czartoryski Museum’s position amongst Polish museum institutions is significant both because of its history and on account of its collections. The collection of paintings, graphics, arts and crafts and armaments was supplemented by ancient artefacts thanks to Prince Władysław Czartoryski, who, by working on the premise of a ‘scientific establishment’, was acquiring them in the second half of the 19th century. Those works of art were included in the permanent exhibition, since for Czartoryski and the Museum’s management at that time, the status of those objects as representing the development of art history was obvious. This changed after WW2 with the institution’s incorporation into the National Museum of Kraków in line with the policy then of eliminating private ownership and when the permanent exhibition was reorganised. As a result, ancient art disappeared from the exhibition’s scenario despite the enlargement of the exhibition space. Following the exhibition curator’s long efforts to organise a permanent exhibition, it became possible to display the antique collection in the Princes Czartoryski Museum’s Arsenal. The paper includes an analysis of the situation of the persistent exclusion of this part of the Museum’s collection within a wider exhibition, promotion and substantive context.
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Mandelli, Elisa. "The Museum and its Spectres." In The Museum as a Cinematic Space. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474416795.003.0008.
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This chapter analyses a number of exhibitions that include ghostly apparitions of historical figures, in a modern and high-tech version of the 18th and 19th century Phantasmagoria. This kind of solution is particularly common in history and memory museums, where audio-visual projections of historical characters or testimonies appear, like spectres, to tell their story to visitors. The chapter analyses some relevant case studies, which include Peter Greenaway’s Peopling the Palaces, an artistic audio-visual installation in the historical site of Venaria Reale, in Italy. These kind of audio-visual exhibition strategies create evocative and impressive experiences, intensifying the emotional impact of the exhibitions and the visitors’ involvement.
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Jovanovic-Kruspel, Stefanie. "“Show Meets Science:” How Hagenbeck’s “Human Zoos” Inspired Ethnographic Science and Its Museum Presentation." In Ephemeral Spectacles, Exhibition Spaces and Museums. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463720908_ch08.
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This chapter attempts to explain the role of “human zoos” in the emergence of scientific ethnography and its display in museums by examining the case of the private portfolio of the first director of the Natural History Museum Vienna, Ferdinand von Hochstetter. This vast portfolio includes photographs of the first Völkerschauen (“peoples’ exhibitions”) by Carl Hagenbeck (1844–1913). Some of the pictures of the Greenland Inuit appear to have been the templates for at least two sculptures of “native types” that the Austrian sculptor Viktor Tilgner used for his Inuit caryatids in the exhibition hall. This discovery sheds new light on the complex relation between “human zoos” and early ethnographic science.
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Paschou, Mersini, Evangelos Sakkopoulos, Athanasios Tsakalidis, Giannis Tzimas, and Emmanouil Viennas. "An XML-Based Customizable Model for Multimedia Applications for Museums and Exhibitions." In Intelligent Multimedia Technologies for Networking Applications. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2833-5.ch014.
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Inclusion of Information and Communication Technologies (ICTs) and multimedia in a museum can result in a functional upgrade of the visitor experience in an exhibition. The added value of ICTs includes promoting the enhancement of educational, research, and entertainment purposes towards which a museum has already been designed. To better understand the potential role of ICTs in museums, the authors introduce an XML-based customizable system. In this chapter, they present an XML-based customizable multimedia solution for museums and exhibitions. The proposed approach serves multimedia content solutions for the assistance of visitors and researchers. A modular approach is adopted in order to provide a User Interface abstraction and operation-business logic isolation from the data. The key advantage of the proposed solution is the separation of concerns for User Interface, business logic, and data retrieval. The proposed solution allows the dynamic XML-based customization of museum multimedia applications to support additional data from new seasonal or one-time exhibitions at the same museum, re-arrangement of the exhibits in the museum halls, addition of new digitized halls with the respective multimedia data and any additional documentation or multimedia extras for existing exhibits. The authors present a case study at the digital exhibition for the history of the ancient Olympic Games at the Older Olympia Museum. Several hundreds of exhibits have been included and the dynamic management was successful after a careful digitization procedure. The results have been encouraging, the users and administrators’ feedback was positive, and the full-scale deployment was successful.
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Mandelli, Elisa. "Introduction." In The Museum as a Cinematic Space. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474416795.003.0001.
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The introduction presents the subject of the monograph: the use of moving images in the exhibition design of museums. The focus is on different kinds of institutions, chiefly art, history, science and ethnographic museums in Europe and the US. Within these settings, films and audio-visuals are not displayed as works of art, but rather as tools for contextualization, explanation or visitor engagement. However, their role is far from being merely instrumental, and they deeply affect the exhibition strategies of museums. Furthermore, the introduction provides the theoretical framework of the monograph and illustrates the methodology. In order to investigate the display of moving images in museums, the book adopts a strongly interdisciplinary approach that combines theoretical and methodological tools drawn primarily from museum, film, and media studies. Following museum studies, it pays attention not only to the way in which exhibition design can influence the meaning of the exhibits, but also to the type of relationship that the visitor establishes with the contents proposed by the institution. On the other hand, film and media studies offer methodological instruments to investigate the dissemination of moving images outside the movie theatres, both in the past and in the present.
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Jovanovic-Kruspel, Stefanie, and Mathias Harzhauser. "Nineteenth-century paleontological art in the Natural History Museum Vienna, Austria: Between demystification and mythologization." In The Evolution of Paleontological Art. Geological Society of America, 2021. http://dx.doi.org/10.1130/2021.1218(13).
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ABSTRACT The nineteenth century was the dawn of scientific and systematic paleontology. The foundation of Natural History Museums—built as microcosmic “Books of Nature”—not only contributed to the establishment of this new discipline but also to its visual dissemination. This paper will take the metaphor of the “book” as a starting point for an examination of the paleontological exhibition at the Natural History Museum in Vienna. In keeping with “Natural Theology,” the earliest natural science museums in Britain were designed as expressions of the medieval idea of the “Holy Book of Nature.” Contrary to this, the Natural History Museum Vienna, opened in 1889, wanted to be a nonreligious museum of evolution. Nevertheless, the idea of the “book” was also influential for its design. According to the architects and the first director, it should be a modern “walk-in textbook” instructive for everyone. The most prominent exhibition hall in the museum is dedicated to paleontology. The hall’s decorative scheme forms a unique “Paleo-Gesamtkunstwerk” (Gesamtkunstwerk: total piece of art). The use of grotesque and mythological elements is a particularly striking feature of the hall’s decoration and raises the question of how this relates to the museum’s claim to be a hard-core science institution. As it was paleontology’s task to demystify the monsters and riddles of Earth history systematically, it seems odd that the decorative program connected explicitly to this world. This chapter sheds light on the cultural traditions that led to the creation of this ambiguous program that oscillates between science and imagination.
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Delley, Géraldine, and Nathan Schlanger. "Recovering the history of archaeology in museums." In The Oxford Handbook of Museum Archaeology. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198847526.013.37.
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Abstract Among the major domains studied in the history of archaeology are museums, as institutions and as sites of knowledge. In this chapter, we consider how museums have contributed to the making of archaeological knowledge—such as the National Museum of Denmark’s Three Age System, or notions of prehistoric industries at the 1867 Universal Exhibition. Another example concerns fakes—establishing the authenticity of artefacts has led to an understanding of their mode of production and use, while questions of provenance have broadened to issues of assemblage and context. The second part of this chapter considers how the history of archaeology has been mobilized as a means of outreach and education, with examples drawn from Northern Italy, Oxford, Paris, and Berlin. We conclude that museums nowadays cannot fulfil their functions without some consciousness of their history, and therefore should integrate the material and ideological conditions of archaeological knowledge into their objectives and displays.
Conference papers on the topic "Museum exhibition history"
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Balsa, Raquel, Francisco Providência, and Fátima Pombo. "Machine Art Exhibition, MoMA 1934 Artifacts of use displayed in the museum." In 9th Conference of the International Committee for Design History and Design Studies. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0014.
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Conti, Alessandro, Grazia Tucci, Valentina Bonora, and Lidia Fiorini. "HOW WERE THE TAPESTRIES IN THE SALA DI SATURNO OF PITTI PALACE ARRANGED? GEOMATICS AND VIRTUAL REALITY FOR ART CURATORS." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12175.
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Three-dimensional acquisition techniques, reality-based modelling and virtual reality are tools used in Digital Humanities prevalently for displaying the results of a study, but they can also suggest new methods of investigation to humanities scholars. In a case study regarding art history, these techniques made it possible to recreate the layout of the Sala di Saturno in Pitti Palace (Florence) in the 17th century, based on information obtained from archive documents on the tapestries designed for that hall and a 3D model expressly elaborated with geomatic techniques. The results were summarised in a video showed in 2019 during the exhibition on tapestries dedicated to Cosimo I de' Medici. A tool was also developed to assist exhibition and museum curators in their work. Through virtual reality, they can design temporary exhibitions or modify the display of the works of art in a museum in a realistic way, using visually and metrically accurate models of the pieces and exhibition rooms.
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Alves da Silva, Cristiane, and Mirtes Marins de Oliveira. "The exhibition design of a House Museum: the Dining Room as a case study." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.104.
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The exhibition space of a Collector's House Museum, the specific case of the Ema Klabin House Museum (HMEK), offers the field of exhibition design a unique place for research due to its nature, which moves from the private to the public and presents artifacts that allow entering the biography of objects and understanding them from a material culture perspective. The present research, still in progress, has as a case study, the environment of the Dining Room at HMEK, which evokes, more than any other room, domesticity and the memory of home while at the same time convoking the experience of the museum space. The research proposes the centrality of the Dining Room both in the practices of the former residence and in the discursive elaboration of the current museum. In this context and in the proposal of this research, the study of the Dining Room, its materialities, uses and spatial organization in both historical moments is an exemplary case for the implementation of research in a house museum, serving its study, based on the indicated variables, to highlight possibilities in this type of institution based on its physicality. The former residence of collector, businesswoman and patron Ema Gordon Klabin houses a multicultural collection that encompasses visual arts, ethnographic objects, books, furniture and decorative arts, exhibited in preserved environments from a house register with exhibition design that highlights the practices of the house, collector and building of modernized classical architecture. It is considered that artifacts are memory supports, vectors capable of preserving or reviving them, provoking relationships between what has been experienced and the situations of the present time. The Dining Room, used for diplomatic and social purposes, is a space measuring 4.80m X 5.30m and connects to the social rooms of the house with a large glass door accessing the external patio, environment with tropical plants and an Italian fountain. It is accessed through a gallery - a must-see for visitors to the house and now, to the museum - and the living room. On the opposite wall, a camouflaged door accesses the kitchen and service areas – currently the museum's reception area – where the French service was carried out. Currently, the Dining Room is organized in accordance with photographs and other historical records that attest to its use before its change to museum status. It exhibits documents and objects that attest to the memory of the uses and customs of this space, for example, the Reception Book, in which the hostess described each event, her guests and the planning of the reception. The research proposes an understanding of the cultural trajectory of objects and the implication of design in the activation of private memories of a domestic environment that, by becoming a museological space, provokes collective memories through its exhibition design, investigating the application of design to address the feedback between experience and history.
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Smolevitskaya, Marina. "On the Way to a New Exhibition on the History of Computing at the Polytechnic Museum." In 2014 Third International Conference on Computer Technology in Russia and in the Former Soviet Union (SoRuCom). IEEE, 2014. http://dx.doi.org/10.1109/sorucom.2014.39.
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De Jaegher, Lars, Maria De Waele, and Veronique Van Goethem. "The use of digital media in a new urban history exhibition: STAM — Ghent city museum." In 2012 18th International Conference on Virtual Systems and Multimedia (VSMM). IEEE, 2012. http://dx.doi.org/10.1109/vsmm.2012.6365976.
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Zeng, Liuxiang. "Cultural Hermeneutics of Ancient Chinese Local History Exhibition - A Case Study of Archaeological Site Museum of Nanyue Palace." In 2018 4th International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/essaeme-18.2018.32.
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Sampaio, Alcinia Zita. "The museum as an educational support in a Civil Engineering context." In Fourth International Conference on Higher Education Advances. Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.7442.
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A Museum, when inserted in a Technical University, is a privileged place for the preservation of the historical memory concerning the construction techniques evolution along ages. The construction industry have been evolved in teaching methods, in the use of specific equipment and applied technologies, and in the way of presenting and making drawing. The Museum presents a reminder of how the technology advanced to the current methodologies of work. The Museum of Civil Engineering of the Instituto Superior Técnico (IST) contains a significant collection of elements offered by teachers and entities which is in exhibition, in a proper room, inserted within the University space. Elements such as: a model of the Pombaline cage, illustrating the constructive technique anti-seismic applied after the earthquake of 1755 or the wooden models of roof framesare examples that are preserved and kept in adequate conditions, contributing to the dissemination of the technical heritage and to the memory and history of the Construction. In the context of the congress some elements used to support teaching and related with traditional building technologies are described in detail.
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Lisovetc, Irina. "The Modern Multi-Functional Cultural Center (Yeltsin Center) as a Platform for Dialogue Both Public & Private." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-11.
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The article covers the modern multi-functional cultural centre as an institution of Russian culture of the 21st Century in the terms of the interaction of publicity and privacy. On the basis of the institutional approach in cultural theory and the philosophical and aesthetic analysis of the space of the cultural centre, the most important role of this institution in individual and personal assimilation of sociocultural values is substantiated. The objectives (programme) of such an institution, its chronotope and functionality are directed at the involvement of contemporaries into various forms and levels of the culture of the past, and its emotional-sensual assimilation via media-communication technologies. The ‘Yeltsin-Center’ in the city of Yekaterinburg was taken as the example not only for being orientated on the familiarisation of its visitors with the history of the Russian state and its culture of the late 20th century and the early 21st century, but also for the subjective experience of turning points of those times and the city where the personality and activities of the first Russian president were shaped and began. The calibre of the President’s personality, in this case, is diversely represented within the space of the Centre, and becomes crucial for understanding what was going on at that time. The ‘Yeltsin-Center’ is a principally new cultural complex, each component of which, and above all its central part - the Museum of the First President - is structured to show the turning point in Russian history as the President’s life journey and to encourage citizens to understand the past and present. The use of modern information technologies in this cultural complex, and primarily in its museum exhibition having been arranged as an artistic artefact, becomes crucial to the dialogue of publicity and privacy.
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Ramírez Rivera, Jessica Beatriz. "Prácticas Feministas en Museos y sus Redes Sociales en México: una respuesta ante la pandemia. Feminist Practices in Museums and their Social Networks in Mexico: a response to the pandemic." In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12631.
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El objetivo de esta comunicación es presentar algunas prácticas feministas que han hecho uso de las tecnologías en los museos de México, así como reflexionar en torno a la soberanía digital, los derechos culturales que se ejercen en las redes sociales y si estos se inscriben en la “internet feminista” desde los museos.En los últimos años, los movimientos feministas en México han tomado relevancia política, en ámbitos públicos y de intervención social. Muchas de ellas, han sido juzgadas negativamente por hacer uso de bienes culturales, lo cual ha desencadenado opiniones polarizadas.Si bien, la postura de los museos mexicanos a este respecto es reservada, existe una apertura a prácticas con perspectiva de género, desde sus investigaciones, oferta cultural y exposiciones temporales. Con las medidas de confinamiento derivadas del COVID-19, quedó claro que las estrategias de los museos para continuar sus actividades, se centraron y volcaron en las Redes Sociales y sus páginas web. Asimismo, se lograron continuar no solo con las prácticas con perspectiva de género que incipientemente se realizaban en estos espacios, si no que se incrementaron los contenidos de corte feminista y de acción política cultural.Entre los ejemplos más notables estuvieron la apertura de nuevos espacios virtuales como lo hizo el Museo Universitario de Arte Contemporáneo, con su Instagram Brillantinas MUAC, en donde se publican diversos materiales feministas desde la cultura y se ínsita al diálogo y la profundización de varios temas con perspectiva de género.Por otro lado, la actividad digital y cultural a raíz de la Conmemoración del Día Internacional para la Eliminación de las Violencias contra las Mujeres, fue adoptada por una gran cantidad de museos desde privados hasta estatales, ya sea con una mención al tema o una actividad o serie de actividades al respecto. Fue un ejercicio que trascendió a los 10 días de activismo y que obtuvo una interesante respuesta tanto negativa como positiva dentro de los públicos.Finalmente, uno de los ejercicios más interesantes que se lograron a pesar de las dificultades por la situación sanitaria, fue la iniciativa “Laboratoria: Mujeres en el Museo” lanzada por el Observatorio Raquel Padilla del Instituto Nacional de Antropología e Historia, que por medio de diversas herramientas digitales, se pudo llevar a cabo un ejercicio feminista y de soberanía digital en la elaboración de prototipos con perspectiva de género y para la prevención de las violencias contra las mujeres.-------- The objective of this communication is to present some feminist practices that have made use of technologies in museums in Mexico, as well as to reflect on digital sovereignty, the cultural rights that are exercised in social networks and if they are registered in the "Feminist internet" from museums.In recent years, feminist movements in Mexico have taken on political relevance, in public spheres and social intervention. Many of them have been judged negatively for making use of cultural property, which has triggered polarized opinions.Although the position of Mexican museums in this regard is reserved, there is an openness to practices with a gender perspective, from their research, cultural offerings and temporary exhibitions. With the confinement measures derived from COVID-19, it was clear that the museums' strategies to continue their activities were focused and turned over to Social Networks and their web pages. Likewise, it was possible to continue not only with the practices with a gender perspective that were incipiently carried out in these spaces, but also the contents of a feminist nature and of cultural political action were increased.Among the most notable examples were the opening of new virtual spaces such as the University Museum of Contemporary Art, with its Instagram Brillantinas MUAC, where various feminist materials from culture are published and the dialogue and the deepening of various issues are encouraged. gender perspective.On the other hand, the digital and cultural activity as a result of the Commemoration of the International Day for the Elimination of Violence against Women, was adopted by a large number of museums from private to state, either with a mention of the subject or an activity or series of activities in this regard. It was an exercise that transcended 10 days of activism and that obtained an interesting negative and positive response from the public.Finally, one of the most interesting exercises that were achieved despite the difficulties due to the health situation, was the initiative "Laboratory: Women in the Museum" launched by the Raquel Padilla Observatory of the National Institute of Anthropology and History, which through various digital tools, it was possible to carry out a feminist exercise and digital sovereignty in the development of prototypes with a gender perspective and for the prevention of violence against women.
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Norogrando, Rafaela. "Second Skin’s Sensitivity: Memories and Consciousness." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001367.
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In order to explore the relationship between people and clothing products, this study addresses material culture and consumption in recent years in the face of the construction of heritage narratives related to the history of fashion design. According to the social circle of values consecration, connections between subjects and objects are fluid and the approach to the material culture and memories can be created and conduct. The history of fashion can be restricting to the materiality of objects or including the intangible elements related to this. The study is based on theoretical approaches and bibliographic review; a case study and ethnographic research on fashion exhibitions and correlated subjects; and comparative analysis including five hundred institutional exhibitions promoted in the last 50 years. This research also comprehends an exploratory study on the project Tati-Viana, which resulted in a fashion design output included in the heritage collection at the National Costume Museum (Portugal). Results showed that emotion and the relationship between people-objects through memories can be an alternative and deliberate tool for sensitizing actions to conscious consumption.
Reports on the topic "Museum exhibition history"
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.