mim session i - building & collection
Post on 08-Jul-2015
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Musical Instrument Museum
Creating a Museum
from the Ground Up
The 3 „News‟
New Building and Exhibitions
New Collection
New Institution
Origins
PhoenixMIM TeamExecution
MinneapolisPlanning and Design
BrusselsOrigins
Phoenix
Building Program
195,000 gross square feet
60,000 net square feet of core galleries
5000 changing exhibition space
Special galleries: Artist, Mechanical Music and Experience
Conservation Center
Collection handling and storage
299 seat Music Theater
80 FTE
70 FTE
60 FTE
50 FTE
40 FTE
30 FTE
20 FTE
10 FTE
Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4 Q1 Q2 Q3
2006 2007 2008 2009 2010
Firsthire Oct 06
FirstacquisitionApr 07
Tempe officeSep 07
Construction begins Mar 08
Exhibit installbeginsOct 08
OpeningApr 10
Topping offFeb 09
80 fte
70
60
50
40
30
20
10
Isabelle de BorchgraveMannequins
Louis HalleauxPhoenix
The Mission and Vision
MIM‟s mandate is to be global, with instruments exhibited from every country of the world.
MIM‟s guest experience is primarily an experience of seeing and hearing music being played by people within their culture.
The Mission and Vision
MIM‟s core guest experience is to be compelling enough to drive repeat visitation
MIM is to appeal to all - to a wide range of visitors, much wider than „specialty‟ museums normally do.
Live performances in in the Music Theater will give guests an opportunity to hear the music from every corner of the globe.
Speakers
Christina Linsenmeyer
Katie Anderson
Irene Peters
Building the
Collection
Permanent Collection Vision
Geo-galleries: every country in the world
Exhibits: multiple exhibit components
Instruments are single component of exhibits
Permanent Collections
Scope: Rethinking the collection
– Traditional acquisition guidelines
– Adding new diversity & breadth
Acquisition Process
Wish list for “virtual” exhibits
Curators, consultants, and sub-consultants
– Travel and foreign colleagues
Other resources
– Networking with embassies, museums, scholars
Sources
– Large existing collections
– Collectors, dealers, auctions
– Makers, Musicians
The Unknown and the Known
No provenance
– Selmer saxophone, Vichy auction (France, 1950s)
Limited provenance
– Gérard Copperé Collection, France, c. 1970-2000
– Fiske Collection, Claremont College, 20th c.
In the field
– Zampogna, Italy, 2009
– Scissors dance, Peru, 2009
Challenges
Global scope
– Access to remote, restricted, and unsafe areas
– Availability vs. wish list
– Cultural sensitivity and permissions
Exhibit-minded acquisitions
– Ensembles
– Redundancy
– Relationship to narrative and other components
Resources: facility, research tools, TMS, time
Lessons Learned
Scope
– Change is good
Procedure
– More research up front
– Manage consultants entirely
– Network early and often
– Large collections are a mixed blessing
– No replacement for field work
Time
Next Steps
Phase 2 wish list
– Filling gaps in the collections
– Replacing place-holders
Research and record clean-up
Devising classification system
Reviewing relationship to exhibit narratives
Registration & Collections Mgmt
Major Responsibilities– Installation – currently top priority with about 25% left to install
– Acquisition and processing – getting the collection in the door
– Moving out of temporary facility in Tempe
– Setting up permanent storage (layout and storage mounts)
– Documenting the collection
Staffing Information– Currently 24 people
3 assistant registrars
1 collections manager
1 database administrator
1 photographer
1 documentation specialist
8 preparators
8 collections technicians
The Collection
• Over 13,000 objects in the collection
• Around 5,000 on view in exhibitions
• Objects in permanent collection include:
Instruments
Implements
Costumes
Cases
• First object accessioned in June 2007
• Most purchased, donations picking up since opening
• Collection also contains a library and archival material
Challenges in Building the Collections
Shipping and Customs– Finding packers and shippers in countries that do not usual export to museums
– Language – often we use translators
– Foreign Politics
– Customs CITES
Economic Sanctions
Speed– Expensive to use air freight but we needed objects here
– Cataloging incomplete
– Difficult to provide proper collections care when moving so fast
Space– Collection moved five times as it outgrew its space
Package Damaged in Memphis Flood
Challenges in Collections Care
Moved into building while construction was being completed – had to work closely with contractors to provide safe access to installed exhibits
Great visitor experience results in several major challenges for collections care– Lighting in the galleries
– Access in the galleries
– Housekeeping – cleaning the exhibits is taking about 20 hrs/wk
New building with great environmental system but still learning how to use it
Playing the collection for demonstrations
Storage space
Decap Dance Organ
Installation
Installation – Artist Gallery, John Lennon’s Piano
Our Next Steps
• Finish installation of Phase I• Finish move from temporary facility• Culling the large collections that were
purchased as lots• Organize collections and create storage
mounts• Organize, house and catalog archival
materials• Standardize database entry• Policies and procedures
Lessons Learned
• Communication is critical– Ask a lot of questions
– Don‟t assume
– Verify and confirm
• Be Flexible and Innovative– Be ready to choose the lesser of two evils
– Think about long-term
• Build an amazing team that you don‟t have to micromanage!
Caring for a collection in transition:
Conservation -
preventive and active
“MIM will collect and display musical instruments from every
country in the world, preserving, protecting, and
sharing these gifts with future generations.”
“MIM will collect and display musical instruments from every
country in the world, preserving, protecting, and
sharing these gifts with future generations.”
Target Financial Services Tempe
„Geneva – Big Lab‟
„Geneva – Conservation Corner‟
„Geneva‟ – Warehouse, outside
„Geneva‟ – parking lot
MIM – Conservation Lab
MIM – Quarantine & Freezer
MIM – Galleries
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