Designing an “Architecture of Information”— The United States Holocaust Memorial Museum

For the permanent exhibition at the United States Holocaust Memorial Museum the design approach was minimal and transparent, and the designers were in dialogue only with the story — not with the history of design or the conventions governing most museum presentations. We reached for a sense of immersion by trying to erase the seams between exhibits and architecture. Display strategies included the removal of conventional barriers of certain glass-encased vitrines: some objects can be touched, and reactions sought are as visceral as they are intellectual. We tried above all to see that people leave the museum not profoundly dejected but with some other feeling evoking the resilience of life and hope. The design intended to make the environment so united with its subject that memory of the museum experience and the sharing of memory through discussion will carry on in the lives of the visitors.     

John Dewey's “Wholly Original Philosophy” and Its Significance for Museums

Abstract John Dewey's lifework was to create a philosophy that encompassed both life‐experience and thought. He attempted to construct a philosophical system that incorporated life as it is lived, not in some ideal form. He rejected all dualisms, such as those between thought and action, fine and applied arts, or stimulus and response. An analysis of “experience” (defined as almost synonymous with “culture”) is central to Dewey's writing and leads him to emphasize process, continuity, and development, rather than static, absolute concepts. This paper examines the significance of Dewey's educational views for museum exhibitions and education programs, and his complex definitions of relevant concepts, with special emphasis on his interpretation of “experience.” Dewey's faith in democracy and his moral philosophy require that the value of any educational activity depends on its social consequences as well as its intellectual content, a proposition that is discussed and applied to museums. This argument suggests that exhibitions and programs can strengthen democracy by promoting skills that improve visitors' ability to become critical thinkers and by directly addressing controversial issues, taking the side of social justice and democracy.     

“Loving,Knowing Ignorance”: A Problem for the Educational Mission of Museums

In this essay, I suggest that Mariana Ortega's concept of “loving, knowing ignorance” (2006) provides a useful conceptual tool for museum practitioners who seek to advance a progressive mission. This form of ignorance assumes authority in describing and acting on behalf of a subject, even as it fails to take seriously the subject's self‐knowledge and agency. While Ortega initially coined this term to describe the stance of white feminists toward women of color, here I extend the concept to describe a wider range of knowers—in this case, the institutional museum. Using a case study at the Museum of Fine Arts, Boston to illustrate this problem, I will suggest that becoming aware of instances of loving, knowing ignorance and learning to avoid it is a key skill for museum professionals who hope for their institutions to fulfill their educational mission in a diverse and democratic society.     

A Case Study of “Planetary Landscapes: Sculpting the Solar System”

This article presents a case study of the design, development and evaluation of a science museum exhibition called Planetary Landscapes: Sculpting the Solar System. The exhibition was created by Chabot Space and Science Center in Oakland, California, in collaboration with the artist Ned Kahn. (A slightly smaller version has been traveling to science museums around the country, and has been sent to the Middle East and Asia.) This exhibition affords a chance to explore the work of a gifted artist as he seeks to merge art and science and create beautiful inquiry‐based exhibits. The story also relates how a museum design team and an evaluation team sought to support the exhibition design in ways that would augment and not interfere with the expertise of the artist.     

“Think With Me:” David Carr's Enduring Invitation

David Wildon Carr (1945–2016) was recognized in the international cultural community as a scholar and instigator whose critical thinking challenged museum practitioners to reflect on the purpose and responsibility of their work. In his recent papers and lectures, he argued that those discussing museum experiences are late to enter into a dialogue already in progress—a dialogue which carefully considers the whole person in a community, and wherein thinking with a museum is an enterprise embedded in the learner's experience. This forum, written by three museum professionals in response to his recent untimely death, is intended to capture personal impressions of Carr's contribution to the continuing work of museums. Each author quotes from Carr's writings, since his words have such enduring strength—a strength that will continue to resonate long into the future. Each also offers readers some personal background on his work as a teacher.     

Perspectives on… Roaches, Guerrillas, and “Librarians on the Loose”

Sophistication and accessibility can be dangerous bedfellows, especially when it comes to information sources. One of the real challenges in undergraduate academic libraries can be connecting students in a meaningful way to the resources that will be most helpful and understandable for them. This article discusses how techniques borrowed from the world of business and marketing, as well as customer service techniques, can provide some useful strategies for librarians serving undergraduates.