Richard Calvocoressi director, Henry Moore Foundation
"I have mixed feelings about the blockbuster. When it's of the 'greatest hits' variety and doesn't advance our understanding of the artist or subject, it can become a rather empty exercise - a cynical way of increasing visitor numbers and revenue.
All museums have to do this from time to time in order to survive, but the blockbuster should alternate with more thoughtful, scholarly exhibitions, many of which could use the museum's own collection.
We are fortunate in having such rich public collections in this country. Small, 'work in focus' or 'recent acquisition' shows can be just as revealing as blockbusters. Displays that contrast historic and modern works from the same collection can also be illuminating. With clever marketing, people will come."
Corinne Miller head of arts and museums, Wolverhampton
"Collections lie at the heart of a museum and should be central to all we do. As you get to know a collection, and the communities within which you work, you find more and more stories to tell and this is one of the joys of curating. Curators have a duty to research collections and to share their knowledge, nurturing links between communities and collections.
But there is a place for the blockbuster. Taking collections as a starting point, they can extend our understanding of cultures and histories through opportunities to see exhibits from further afield. They raise the profile of collections, individual museums and the sector."
Stephen Allen head of learning, National Museums Scotland
"Working on 'blockbusters' gives us the buzz we all desire, and it can provide a focus on new audiences and stimulate creative projects. But part of my heart sinks when a high-profile exhibition is planned.
They suck resources from regular work, the day-to-day can seem suddenly mundane and the promise of extra funding from sponsorship disappears like snow on Arthur's Seat as the costs of installation escalate. The day after closure we're left with piles of unused teachers' packs, family trails and exhausted staff, all looking a little frayed round the edges.
At NMS we're currently working on the creation of 18 new galleries as part of the Royal Museum Project. That's giving us all the stimulation and creativity we need!"
Caroline Krzesinska creative director, Sheffield Galleries and Museums Trust
"Collections and exhibitions surely exist in a symbiotic relationship, the one sustaining the other. But blockbusters have the power to inject new energy and public profile to your museum. Most important, their presence engenders pride in visitors and staff alike, creating a special moment around which much can happen.
If planned carefully, blockbusters can associate you with important economic drivers in your area: courtesy of Yorkshire South Tourism, Vivienne Westwood at the Millennium Gallery will align one of Britain's most unique fashion designers with a Sheffield and region-wide celebration of style and design this summer."
"I have mixed feelings about the blockbuster. When it's of the 'greatest hits' variety and doesn't advance our understanding of the artist or subject, it can become a rather empty exercise - a cynical way of increasing visitor numbers and revenue.
All museums have to do this from time to time in order to survive, but the blockbuster should alternate with more thoughtful, scholarly exhibitions, many of which could use the museum's own collection.
We are fortunate in having such rich public collections in this country. Small, 'work in focus' or 'recent acquisition' shows can be just as revealing as blockbusters. Displays that contrast historic and modern works from the same collection can also be illuminating. With clever marketing, people will come."
Corinne Miller head of arts and museums, Wolverhampton
"Collections lie at the heart of a museum and should be central to all we do. As you get to know a collection, and the communities within which you work, you find more and more stories to tell and this is one of the joys of curating. Curators have a duty to research collections and to share their knowledge, nurturing links between communities and collections.
But there is a place for the blockbuster. Taking collections as a starting point, they can extend our understanding of cultures and histories through opportunities to see exhibits from further afield. They raise the profile of collections, individual museums and the sector."
Stephen Allen head of learning, National Museums Scotland
"Working on 'blockbusters' gives us the buzz we all desire, and it can provide a focus on new audiences and stimulate creative projects. But part of my heart sinks when a high-profile exhibition is planned.
They suck resources from regular work, the day-to-day can seem suddenly mundane and the promise of extra funding from sponsorship disappears like snow on Arthur's Seat as the costs of installation escalate. The day after closure we're left with piles of unused teachers' packs, family trails and exhausted staff, all looking a little frayed round the edges.
At NMS we're currently working on the creation of 18 new galleries as part of the Royal Museum Project. That's giving us all the stimulation and creativity we need!"
Caroline Krzesinska creative director, Sheffield Galleries and Museums Trust
"Collections and exhibitions surely exist in a symbiotic relationship, the one sustaining the other. But blockbusters have the power to inject new energy and public profile to your museum. Most important, their presence engenders pride in visitors and staff alike, creating a special moment around which much can happen.
If planned carefully, blockbusters can associate you with important economic drivers in your area: courtesy of Yorkshire South Tourism, Vivienne Westwood at the Millennium Gallery will align one of Britain's most unique fashion designers with a Sheffield and region-wide celebration of style and design this summer."
