There has been some debate in recent issues of Museums Journal about the relative importance of objects and interpretation in museums. Lawrence Fitzgerald argued for objects to take centre stage (Museums Journal November 2004, p18), proposing subjects that cannot be told with objects should not be in the museum at all.
And Mike Constable criticised the over-bearing nature of audio-visual displays at the Imperial War Museum North (Museums Journal January 2005, p15). But there are a number of reasons why artefacts are not always appropriate in museum displays. While objects are the foundation on which all museum work is built, museums must accept that there may sometimes be better ways of communicating with their audience.
Narrative is vital in museums. With a strong focus on stories, museums can attract visitors and make the displays relevant to as wide an audience as possible. The majority of visitors are attracted by the stories we tell. They decide to come to have a good day out, not to see the specific artefacts that we have on display.
There are some notable exceptions, but just look at the research (Mori for the Museums, Libraries and Archives Council 2004). The highest scoring reasons for visiting are the subject matter, a popular temproray exhibition and the desire to take family and/or friends n an entertaining day out - not interest in a particular artefact or collection.
Using narrative allows museums to go beyond bland displays of objects and lets them draw the audience in. It gives objects context and gives our displays a human voice, helping to make a visit an emotional experience. Exhibitions should entertain, engage, provoke, stimulate, encourage debate and leave the visitor interested and satisfied. Deft use of narrative can help achieve this.
In developing the content for the new Museum of Liverpool, the team at National Museums Liverpool are taking a broad look at themes and stories that should be included. But it is already acknowledged that objects alone will not be sufficient to tell many of those stories, and the designers will need to look at other methods of communication. Immersive environments, commissioned art, audiovisual displays, digital media and interactivity will all have a role.
Exhibitions work best when they have robust communication aims underlying the displays and a clear interpretive plan carried through in the display. Good exhibitions allow objects and interpretation to bind together, make visitors comfortable within the exhibition space and offer a range of ways into the story.
The exhibition team needs to care about the story being told and, most importantly, needs to care about the visitors who will view the exhibition. It's all pretty basic. But all too often, these foundations are not laid at the beginning of a project and adequate time is not allowed for proper evaluation.
So, in future, let's set personal bias to one side when approaching a new project and start by identifying the main messages or 'story', setting the core objectives and defining the target audience for the exhibition. We should let those three things become the foundation from which everything else builds.
For museums to broaden audiences, encourage repeat visits and become a core part of everyone's life, they must put content, story and the needs of the visitors at the heart of every new project.
Sara Hilton if the project manager for Into the Future at National Museums Liverpool
And Mike Constable criticised the over-bearing nature of audio-visual displays at the Imperial War Museum North (Museums Journal January 2005, p15). But there are a number of reasons why artefacts are not always appropriate in museum displays. While objects are the foundation on which all museum work is built, museums must accept that there may sometimes be better ways of communicating with their audience.
Narrative is vital in museums. With a strong focus on stories, museums can attract visitors and make the displays relevant to as wide an audience as possible. The majority of visitors are attracted by the stories we tell. They decide to come to have a good day out, not to see the specific artefacts that we have on display.
There are some notable exceptions, but just look at the research (Mori for the Museums, Libraries and Archives Council 2004). The highest scoring reasons for visiting are the subject matter, a popular temproray exhibition and the desire to take family and/or friends n an entertaining day out - not interest in a particular artefact or collection.
Using narrative allows museums to go beyond bland displays of objects and lets them draw the audience in. It gives objects context and gives our displays a human voice, helping to make a visit an emotional experience. Exhibitions should entertain, engage, provoke, stimulate, encourage debate and leave the visitor interested and satisfied. Deft use of narrative can help achieve this.
In developing the content for the new Museum of Liverpool, the team at National Museums Liverpool are taking a broad look at themes and stories that should be included. But it is already acknowledged that objects alone will not be sufficient to tell many of those stories, and the designers will need to look at other methods of communication. Immersive environments, commissioned art, audiovisual displays, digital media and interactivity will all have a role.
Exhibitions work best when they have robust communication aims underlying the displays and a clear interpretive plan carried through in the display. Good exhibitions allow objects and interpretation to bind together, make visitors comfortable within the exhibition space and offer a range of ways into the story.
The exhibition team needs to care about the story being told and, most importantly, needs to care about the visitors who will view the exhibition. It's all pretty basic. But all too often, these foundations are not laid at the beginning of a project and adequate time is not allowed for proper evaluation.
So, in future, let's set personal bias to one side when approaching a new project and start by identifying the main messages or 'story', setting the core objectives and defining the target audience for the exhibition. We should let those three things become the foundation from which everything else builds.
For museums to broaden audiences, encourage repeat visits and become a core part of everyone's life, they must put content, story and the needs of the visitors at the heart of every new project.
Sara Hilton if the project manager for Into the Future at National Museums Liverpool
