Note #9:
Developing an Exhibition Policy for the Museum

• Introduction
• Theme
• Space
• Illumination
• Exhibition Furniture
• Graphics
• Work Areas
• Duration of Exhibitions
• Programming
• Human Resources
• Financial Resources
• Exhibition Policy
• Summary
• Bibliography

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This paper is designed to help museums develop an exhibition policy that will provide a framework for producing consistently excellent exhibitions. A good exhibition policy marks an institution's commitment to create informative, attractive, effective and professional exhibitions. To ensure a useful policy, you must have a firm grasp of the essentials of exhibit design. The first part of the paper will deal with these essentials, while the last part outlines a sample policy.

The museum's Statement of Purpose confirms that it will collect, preserve, study and interpret artifacts of historical significance. In interpreting these collections, the museum endeavours to create exhibits that will inform and educate, promote a professional image of the institution, and stimulate community involvement in its own history. The Exhibition Policy outlines how the museum intends to do this effectively while safeguarding the collection.

Exhibits are the most accessible and immediately visible component of a museum's operation. Since the public image of the museum is largely determined by the effectiveness and quality of those exhibits, special care must be taken to ensure their excellence.

The development of a good exhibition policy requires that every aspect of the museum's operation be examined, particularly the nature of the collections and the related community history. This information will give direction for:

1. establishing themes to be interpreted through exhibits, and the research necessary to present those themes

2. determining the amount and use of space for exhibitions and the technical requirements for the effective and safe display of collections

3. allocating sufficient space for preparation of exhibits

4. establishing an effective process for planning, producing, installing and evaluating exhibits

5. determining the length of time for each exhibit, whether permanent or temporary

6. determining the nature and scope of related programming

7. determining the human resources required for planning and developing exhibitions and for carrying out related programming and promotion

8. determining the financial resources needed and ensuring that the necessary funds are in place for the production of exhibitions.

In preparation for writing the policy, you should consider the role that each of the following elements plays in the creation of good exhibits.

Theme

Usually, a museum's collection comes from the surrounding district. When correctly displayed, each artifact has a special role to play in telling the history of the region. Often the collections contain geological samples, fossils, ethnological artifacts, examples of 19th century tools and household effects, plus important memorabilia donated to the museum by local residents. You can display material from these collections in different ways.

A chronological display could portray the development of the area through time. A thematic display could portray several artifacts that are somehow linked in use or material. The first step in planning an exhibition is to create a story-line about the artifacts you wish to display. Base this on research from sources such as books, personal papers and manuscripts, municipal records, early maps, land registry records and oral histories. The educational value of any museum exhibition is directly proportional to the quality of research that has gone into it.

Space

The museum creates an impression as soon as a visitor enters the grounds. The appearance of the building, its surroundings, and in particular the identifying and directional signs, all play an important part in establishing the expectations and mood of the visitor. The entrance should welcome and orient the visitor to the exhibitions. There should be wide passageways for people of all ages and capabilities to move easily throughout the public areas of the museum. In addition, the museum should provide pleasant surroundings where people can comfortably view the items on display. Exhibition areas should never be overcrowded with artifacts, showcases, platforms or barricades.

Illumination

Lighting plays a very important role in exhibition display. Of the three types -- daylight, incandescent and fluorescent -- incandescent lighting is preferable, since it is the most easily controlled.

Lighting makes it possible to highlight certain areas and artifacts and emphasize shape and texture. However, since incandescent bulbs produce heat, keep them at a safe distance from the artifacts. You must also provide adequate ventilation in cases where the artifacts are displayed. Use low wattage bulbs or dimmers to vary light levels to meet the recommended conservation standards for artifacts. Hide or baffle the source of light to avoid irritating glare. Remember to place or adjust gallery lights so they do not reflect on glass or artifacts.

Ceiling track systems are especially appropriate for temporary exhibitions, since the fixtures are easily moved. Avoid daylight. It is difficult to control, and contains harmful infra-red and ultraviolet radiation. In historic room settings, because accurate interpretation is necessary, there is no alternative but to use daylight. In this case, cover windows with ultraviolet filtering material and curtains.

Ceiling fluorescent lighting is unsuitable for gallery illumination. It draws the visitor's attention away from the displays by producing a bright, even light which illuminates the whole area (room). It can also be a source of ultraviolet radiation.

Exhibition Furniture

Protect artifacts on display from unauthorized handling, dust, dirt or other physical hazards with suitable exhibition furniture such as showcases, panels and/or various types of barriers. Exhibition furniture should be as unobtrusive as possible while providing optimal viewing of the artifacts on display for people of all ages. Ensure that it is constructed of safe and strong materials that comply with established conservation and security standards, as well as fire and building code regulations.

Graphics

All labels and graphic illustrations should have a professional appearance. They may be printed, typewritten or hand-lettered, but must be consistent with the lettering styles chosen by the museum. Mount all interpretive graphic material to prevent curling and warping, installing it in a position that can easily be seen without obscuring the view of the artifact.

Work Areas

In the initial set-up of an exhibition gallery, the exhibition furniture, panels, showcases, and platforms are often constructed within the gallery space. A behind-the-scenes work area must be provided, however, for on-going exhibit preparation and refurbishing.

• carpentry and painting - This area should be well ventilated and include a fan, work bench, table saw, miscellaneous hand tools, a wood storage rack and a lockable, metal paint storage cupboard.

• display artwork and production of labels - This area should be equipped with a drafting table and tools, such as T-square, set squares, a dry mounting press, and storage cupboards and shelves for paper, mat boards, glues, paint, and similar materials.

Duration of Exhibitions

An exhibition policy should be dynamic and flexible. It should allow for changes in visitor preference and interest. The frequency of and need for exhibit change will vary with the nature of the museum and the type of public it serves. Temporary exhibits drawn from the collection, neighbouring institutions, or the community can provide opportunities for attracting valuable media publicity and heightening the museum's profile in the community. In addition, temporary or short-term exhibits are often the only way you can safely display delicate, light-sensitive artifacts.

Programming

An exhibition should complement and add to the scope of the interpretation and education programs of the museum. Museum staff should co-operate with other institutions, agencies and government ministries involved in education, interpretation and related fields. This will help in developing an exhibition program that will meet user needs.

For example, if you know there is a group interested in birds, you might mount an exhibition relating to this, and offer slide presentations, lectures and perhaps a field trip in addition to school programs. You might stage an exhibition of nineteenth century pottery to attract collectors, and offer artifact identification workshops, and films. If exhibits are provided in conjunction with school programs, then teachers and school board consultants should be included in co-operative curriculum design initiatives. In all cases, you must ensure the safety of both the artifacts and the visitors. This is especially true in programming that involves `hands-on' activities. Reproductions or duplicates can often be substituted for original artifacts.

Human Resources

An important factor in creating an effective exhibition program is the expertise of the people involved. Whether one person or a group creates the exhibition, you will need the following knowledge and skills.

• an understanding of the objectives of the museum
• an appreciation of the significance of the collection and its potential for display
• a regard for the preservation of the artifacts on display and a knowledge of how to achieve this
• good judgement in selecting which artifacts to display, considering their number, quality, and condition
• creativity in display design and in the written information which complements the exhibits
• sensitivity to the visual components of proportion, colour, and light
• dexterity in the various manual skills that are required to prepare and mount an exhibition

One person might well have all these qualities. However, preparing and installing exhibitions is very time consuming. This person will likely find that he or she must enlist and organize support from other staff members or volunteers in the community.

Financial Resources

Successful museum exhibition programs rely heavily on adequate funding. Most people underestimate the amount of time and money required to mount an exhibition. Once you propose an exhibition program, prepare thorough cost estimates. These should take into consideration the cost of licensed tradespeople and their supplies. Make sure to account for basic display construction materials such as lumber, glass, trim, hardware, locks, fabrics, as well as label and sign-making supplies and any special lighting equipment.

Once you have projected the cost, the museum board may decide to seek financial support or materials from public-spirited citizens or funding agencies. By preparing attractive illustrations beforehand, with plans or models representing the completed display, the museum can elicit broad public support and enthusiasm.

Exhibition Policy

The following sample of an exhibition policy covers some of the major points a typical museum or historic house should consider when writing its own aims and objectives. Museums with specialized collections will have additional concerns to address. In all cases policies, facilities and staff capabilities should be reviewed. This will ensure an exhibition policy that will meet provincial standards as well as those of the institution.

Goal:

To communicate to the public the significance of the community/region's heritage through appropriate display of the collection.

Objectives:

1. Exhibition themes will be developed to arouse the visitor's interest in local history, that follow the museum's Statement of Purpose. (Topics, for example, could include: pre-history, settlement, transportation and industry.)

a) To accomplish this, 50% of the available exhibit space will be allocated to portray the chronological history of the area. Artifacts from the collection will illustrate this theme and will be rotated as required by conservation standards.

b) The remaining space will be reserved for exhibition themes to enlarge on the above or, in special circumstances, all or part of it may be used for special interest temporary exhibitions in support of educational programs.

c) There will be a minimum of four seasonal exhibits per annum. Young visitors will be encouraged by mounting one exhibition each year in co-operation with the school board or youth organization in the area.

d) Travelling exhibitions may be hosted, provided they complement the subject matter of the museum and do not disrupt the normal activities or financial capabilities of the museum.

e) Collections owned by private citizens may be exhibited providing the museum has full authority governing the terms of the agreement (ie. time, content, promotion, interpretation, installations and security).

f) Joint exhibitions will be produced with other museums, community organization, or cultural groups.

2. Areas designated for exhibition will meet existing building codes and fire safety regulations and will be consistent with recommended conservation standards and handicapped access requirements. Exhibitions will be designed to allow sufficient aisle space, particularly to accommodate wheelchair access.

3. An exhibition budget will be prepared and allocated each year.

4. Each year the Director/Curator will present ideas and a schedule of exhibitions. Each exhibition proposal should include the following information as well as answer the questions, "Who, what, where, when, why, how?".

a) the purpose of the exhibit

b) the user group for which the exhibit is designed

c) the historical accuracy and significance of research

d) a list of the artifacts to be displayed

e) specifications and estimated cost for furniture and support materials, purchase of new materials and labour.

5. The museum does not guarantee to display all of the artifacts in the collection in any given year.

a) Only those objects that illustrate and relate to a chosen theme will be displayed.

b) all objects chosen for display must be in stable condition, catalogued, and installed in a safe manner, considering the object's size and composition.

c) No object will be allowed to deteriorate visibly while on display.

6. a) While each artifact will be clearly identified, the donor's name will not be on the identifying or interpretive label. Donors will be given recognition by a list posted in the gallery or in a catalogue.

b) New acquisitions may be acknowledged and displayed only after they have been recorded and catalogued.

7. All written material will be approved by the Director/Curator before the exhibition. Wording should be accurate and simple. Exceptions will be made for quotations or colloquial expressions if they make an exhibit more understandable to the visitor.

8. Only those technicians and craftsmen will be engaged who have proven ability in the preparation and installation of exhibits, including:

a) writing a story line and labels

b) display designing

c) graphic design and labelling.

9. Sufficient work space and tools will be provided to allow these people to perform their tasks effectively and safely.

10. All sacred artifacts entrusted to the museum's care will be properly handled, displayed and interpreted.

11. In addition, each museum, depending on its unique character, may want to consider the following topics:

a) selection of suitable off-site locations for outreach programs

b) setting levels of authority and responsibility for staff and volunteers involved in exhibition production

c) formulating methods of recording and evaluating work-in-progress and completed exhibitions.

12. This policy will be reviewed annually.

Summary

Visitors often base their judgement of a museum on what they see in its exhibitions. All good exhibitions must incorporate the principles outlined in this paper. The museum's commitment to following these principles should be stated in the Exhibition Policy.

It is essential that a museum be entertaining as well as instructive. Whatever form the museum's Exhibition Policy takes, it should not restrict the creative forces that enable people to produce exciting and innovative exhibitions.

Bibliography

American Association for State and Local History. Exhibition Technical Leaflets Package. Nashville, TN: American Association for State and Local History

Carmel, James H. Exhibition Techniques, Travelling and Temporary. New York: Reinhold Publishing Corporation, 1962.

Klein, Larry. Exhibits, Planning and Design. New York: Madison Square Press, 1987.

Neal, Arminta. Exhibits for the Small Museum, A Handbook. Nashville, TN.: American Association for State and Local History, 1976.

Royal Ontario Museum. Communicating With the Museum Visitor. Royal Ontario Museum, Toronto, 1976.

Wittborg, Lothar. Good Show: A Practical Guide for Temporary Exhibitions. Washington, D.C.: Smithsonian Institution, 1981.