Pub Date : 2023-01-02DOI: 10.1080/10598650.2023.2169817
Dana Allen-Greil
ABSTRACT In this summary of advice from museum social media writers, the author addresses a variety of challenges and opportunities faced by practitioners. From creatively tackling constraints to embracing restraint, the practice of writing for social media within museums stands apart in the pressure to perform while avoiding controversy and the need to both adhere to museum scholarly standards while pushing boundaries to gain the attention of new and expanding audiences. This guide addresses museum social media writing as interpretation, as conversation, as co-creation, and ultimately as a powerful method of exploring identity and advancing societal change.
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Pub Date : 2023-01-02DOI: 10.1080/10598650.2022.2141796
A. M. Burroughs, Amanda Thompson Rundahl
ABSTRACT This article makes an argument for the considerable time involved and the benefits of a highly collaborative process among curators and educators who are interpretive specialists for the crafting of gallery labels and other interpretive texts. Through examples from recent projects, it illustrates some of the many ways in which allowing the time necessary for thorough reflection, consultation, and refinement of the words used to interpret works of art for largely non-expert audiences is a worthwhile investment.
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Pub Date : 2023-01-02DOI: 10.1080/10598650.2022.2149978
T. Wynn
ABSTRACT This lyric essay responds to an inquiry of how being a poet influences my work as an interpretive writer for museums and cultural institutions. Each section of the essay, listening, questioning, binary, et al — is an opportunity to ponder the poet-interpretive writer’s writing life. The essay’s holistic framework necessitates a bit of a pinball effect, but the content aligns poetry and interpretation in moments of strict divergence or happy fusion. Hopefully the essay’s arrangement on the page will offer the reader clues to meaning and how to read the piece aloud the way good poems do. There is music. There are clients, librarians, and lists. I found the seams where work and art separate and ripped out the thread.
{"title":"A Poet, Wayfinding","authors":"T. Wynn","doi":"10.1080/10598650.2022.2149978","DOIUrl":"https://doi.org/10.1080/10598650.2022.2149978","url":null,"abstract":"ABSTRACT This lyric essay responds to an inquiry of how being a poet influences my work as an interpretive writer for museums and cultural institutions. Each section of the essay, listening, questioning, binary, et al — is an opportunity to ponder the poet-interpretive writer’s writing life. The essay’s holistic framework necessitates a bit of a pinball effect, but the content aligns poetry and interpretation in moments of strict divergence or happy fusion. Hopefully the essay’s arrangement on the page will offer the reader clues to meaning and how to read the piece aloud the way good poems do. There is music. There are clients, librarians, and lists. I found the seams where work and art separate and ripped out the thread.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"48 1","pages":"10 - 15"},"PeriodicalIF":0.6,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48126962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/10598650.2022.2152599
Susan B. Spero
ABSTRACT This annotated bibliography presents resources on writing for museums sorted into six categories, including writing for clarity, writing for the senses, writing for story, writing with respect to polyvocality, writing (specifically) for museums, and writing for the journey The goal is to encourage museum professionals to gather more confidence and skills in their writing.
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Pub Date : 2023-01-02DOI: 10.1080/10598650.2023.2167288
Nathaniel Prottas
Well before words mattered in the museum, they had grave consequences for Socrates. After all, he died for them. For Socrates, language’s danger lies in its pliability; the power of rhetoric to convince without the aim of truthfulness reveals the pernicious potential of words. In Phaedrus, Socrates critiques rhetoricians whose facility with language allows them to convincingly lie; the language that persuades can also deceive. Casting the sophists as charlatans, Socrates argues that a facile use of language without a love of truth endangers society. Understanding the techniques of language— rhetoric—allows us to differentiate between truth and that which simply masquerades as truth, between opinion and fact. The use of the written word was particularly suspect to Socrates, but he was not, contrary to common perception, critical of writing per se. Rather, he recognized its dangers; writing cannot reply like a teacher, but it can be moved, re-situated, and shifted. It cannot differentiate between those who read and understand and those who read and do not. Socrates tells us not to destroy the written word, but to enliven it through living conversation and dialogue. In the context of this journal, whose medium is the written word, we as educators, writers, and thinkers must take heed of this warning. This issue of the journal focuses our attention on the power of words in the museum, with a strong focus on the written word. It asks us as educators to think carefully about how we write and engage with language in our work, while itself meditating on the power of the written word to record our work and create dialogue in our profession. Famously, Socrates wrote nothing himself; all our knowledge about what and how he taught comes through his student, Plato. In this way, educators often parallel Socrates— we teach but rarely record what we do, relying on engagement in the galleries rather than the written word. Jacques Derrida explored the irony of the fact that Socrates’ truth and critique of the written word comes to us through that same medium, through dialogues created by his student that appear real but may well be inventions. For Socrates, these dialogues are knowledge, the passage of meaning through ideas and things, something achieved through active engagement with a subject. Dialogue in the Socratic sense is not an act of replacement of an old, dead meaning with a new one as in the Hegelian dialectic; rather dialogue is about a living, multidirectional, shifting meaning. Art historianWendy Shaw has noted that Plato’s definition of knowledge as dialogue, flexible and agile as language itself, sits uncomfortably within the museum:
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Pub Date : 2023-01-02DOI: 10.1080/10598650.2022.2158271
Susan B. Spero, Katherine Whitney
Any educator who has been asked to write knows that working with words can be layered and complex. There is so much to consider: What are the words supposed to do?Who are they for? What should their tone be? Whose voice do the words represent? And how do we choose some words over others given limited space? These are just a few of the considerations encountered before and during the crafting of any text. Writing is rarely simple or straight forward. This issue presents writing in the context of museum education and offers insights into the ways a variety of museum educators choose and frame their words. Words dominate much of a museum educator’s everyday work. Museum educators use words to teach, to inspire, to build community, and to define leadership values. Knowing how to choose the right words is a critical skill for instigating change; word choice involves politics that are sometimes obvious yet more often subtle. As co-guest editors we believe that knowing how to work with words is fundamental to the effectiveness of all museum education. Within our stance that “words matter,” we further assert that museum educators need to be able to write well. In the context of museums, clear and concise writing reaches audiences. This issue opens a conversation into the practice of writing by museum educators, revealing insights into how our contributors have wrestled with the challenges of working with words. The authors are experienced writers who, because of their experience, have conducted the meta-level thinking required to discuss the creative and intuitive process of word choice. We asked the contributors to this issue to hone in on their decisions around selecting and arranging words for specific contexts and to discuss the issues that arise when they write. By revealing these varied processes, we hope this issue provides guidance to others facing similar writing challenges. All writers can learn from reading and studying literary traditions. We asked Toni Wynn to consider how being a poet influences her interpretive museum writing. Her piece, A Poet, Wayfinding, is a lyric essay that explores the Venn diagram of her writing of poems and writing for museums. Wynn uses her poet’s ear, choosing her words carefully and honing in on what is most essential, both in her poems and in her interpretive museum text. Story is another literary form that underlies museum interpretation. Museum professionals often claim to be telling stories – but are they? And how effective are those purported stories? Guest editor Katherine Whitney interviewed Amelia Wong, Digital Content Strategist at the J. P. Getty Trust, about her upcoming book How Museums Tell Stories. In a wide-ranging conversation, Wong dissects the museum field’s
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Pub Date : 2023-01-02DOI: 10.1080/10598650.2022.2147687
O. Hnizdilova, Iryna Karapuzova, O. Vilkhova, Svitlana Bursova
ABSTRACT The article describes the experience of Ukrainian teachers in organizing pedagogical work with preschool children by means of museum pedagogy. Museum pedagogy in Ukraine plays an important role in the process of socializing children by involving them in the historical and cultural heritage of society. It is an effective factor in the cognitive, aesthetic, mental, and creative development of preschoolers. The article reveals the role of museum pedagogy in the educational process of a preschool education establishment. The authors emphasize that in Ukraine today a significant role is given to the creation of appropriate development environments, and the search for new forms and methods of working with children. The article defines the basic principles and tasks of museum pedagogy as an innovative technology and describes the peculiarities of the work of museum staff and the criteria of their pedagogical skills.
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Pub Date : 2023-01-02DOI: 10.1080/10598650.2023.2169225
Margie Maynard
ABSTRACT In this essay the author recalls the process of organizing and interpreting an exhibition of art and language made in response to a catastrophic fire that devastated California’s Sonoma and Napa counties in late 2017. The Sonoma Valley Museum of Art invited a group of artists and writers to be part of its small exhibition planning team to help establish the exhibition’s focus, compile the checklist of artworks and writing, compose the interpretive labels, and participate as presenters in the public programs. What follows is a reflection on the process that resulted in unique approaches to organizing, presenting, and interpretation as the artists, writers, and museum staff collaborated to engage the audience directly through first-person stories, with the intention of honoring their shared experience and healing their community.
{"title":"From Fire, Love Rises: Stories Shared from the Artist Community","authors":"Margie Maynard","doi":"10.1080/10598650.2023.2169225","DOIUrl":"https://doi.org/10.1080/10598650.2023.2169225","url":null,"abstract":"ABSTRACT In this essay the author recalls the process of organizing and interpreting an exhibition of art and language made in response to a catastrophic fire that devastated California’s Sonoma and Napa counties in late 2017. The Sonoma Valley Museum of Art invited a group of artists and writers to be part of its small exhibition planning team to help establish the exhibition’s focus, compile the checklist of artworks and writing, compose the interpretive labels, and participate as presenters in the public programs. What follows is a reflection on the process that resulted in unique approaches to organizing, presenting, and interpretation as the artists, writers, and museum staff collaborated to engage the audience directly through first-person stories, with the intention of honoring their shared experience and healing their community.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"48 1","pages":"52 - 61"},"PeriodicalIF":0.6,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47570681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/10598650.2022.2150365
Dia Felix, Erin E. Fleming
ABSTRACT The current digital age offers exciting possibilities for communicating with our audiences through recorded media to personalize the museum experience – think podcasts, immersive experiences, mobile experiences, in-gallery videos. But how should we talk to them? How can we express a cogent institutional voice and also encourage independent inquiry and fresh perspectives? Media producers Erin Fleming and Dia Felix explore best practices for audio storytelling in museums and reveal approaches to writing for the ear, establishing trust with audiences, and delivering audience-centered media that stands the test of time.
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Pub Date : 2022-10-02DOI: 10.1080/10598650.2022.2140555
Braden Paynter, Linda Norris
ABSTRACT Formal museology education makes up a very small, if any, proportion of a museum professional's working life. It is not possible for that limited an experience to fully equip someone for a life of anti-oppression work. More than formal pedagogy, museums need lifelong anti-oppression learners in the field. This article presents two frameworks from the International Coalition of Sites of Conscience (ICSC) to help readers become better lifelong learners. It matches these theoretical frameworks with interviews from ICSC members around the world about their experience as lifelong learners.
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