Documentos de Académico
Documentos de Profesional
Documentos de Cultura
Pleasure to be here Thanks to the team at the Mather Museum for the
invitation. Thanks for the introduction.
About the title: its scary. Im not sure who came up with it but its a
challenge.
Steven Lubar
Museums at the Crossroads
Mathers Museum, Indiana University
May 2015
Lets take a look at it. For one thing, why is challenge at the end? Shouldnt
the challenge come first? Is innovation the challenge? Or change? And is the
change from yesterday to today, or today to tomorrow? I started to play with
it
What if challenge came first? That way, we could see what museums have a
hard time with - what challenges them - and think about the innovations
necessary, and what change that might lead to.
And then theres the question of todays museum - I believe that todays
museums need to innovate and change because of where theyve come
from. And we can only understand that, I think, with a longer view. So we
could add a historical element
I want to suggest, in this talk, that museums struggle with change in part
because they have adopted a set of rules, a set of ideas about how things
are supposed to be done. They have internalized these rules so that they
dont even think about them. In this talk, I want to ask: what are those rules?
Where do they come from? How do they keep us from doing what we ought
to be doing? How do they keep us from innovating and changing?
We need to know where weve come from to understand what keeps us from
changing to be what we want to be, to go where we want to go. SO the
first question is
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What are the rules? What are the unwritten rules of museums? What
rules have museum people internalized? Before you can break the rules,
or change the rules, you must know what they are
a quick set - not definitive, but to get you thinking
and mostly these are good! Need to know when to break them.
First, though, some actual curator rules. This Directors Agreement with
Curators, from the Metropolitan Museum of Art, is the earliest list of rules for
curators that I know of.
Curators are responsible for the safekeeping and preservation of all art
objects.
Curators keep a property book. Theyre registrars, not just curators. And
again, by department, not across the museum.
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They report once a month to the director about what theyve done. This is
when the director finds out whats been collected.
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There are some practice things here, as well. No more than one curator at a
time shall be absent a whole day from the Museum. Worth noting that there
were only two curators at the time!
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This, by the way, is one of the two men these rules applied to: William H.
Goodyear, first curator at the Met.
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In these new rules, the director has a bit more say. It seems the curators
decide what to put on display, the director arranges it, and the curators label
it. Must have made for interesting management problems!
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Later rule books at the Met are mostly about keeping good records:
recording object moves, photography, conservation, using new forms.
THE
METROPOLITAN
MUSEUM
OF ART
z. LOCATION
RECORDS
Cards for use under Rule B are to be obtained from the Storekeeper,
who will have a supply of special guide cards on which to enter case
numbers. Ordinary guide cards should be filled in with the number
of the gallery, number of storeroom, name of shop, etc., to cover the
objects grouped under these heads.
2. INSPECTIONS
The special guide cards referred to above constitute forms on which
to enter the records of the opening of cases.The records of the annual
checking of each gallery and each storeroom should be entered on the
face of the guide cards for these rooms.
While most of the checking of the contents of rooms and cases
will probably have to be done by each department during the summer
season, the checking of some of the caseswill be spread over the year,
since a case checked in the course of rearrangement, or opening for
some other reason, during the calendar year need not be checked again
that year.
3. OBJECTS OF INTRINSIC
VALUE
My talk isnt really about this kind of rules, though. But it seemed right to
mention the set of rules that guides many curators in the US - the Oce of
Personnel Managements curator rules.
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These are the ocial rules they give you an overview of curatorial work in
several categories - exhibitions, collecting, objects Big question, of
course: what are the real rules?
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Start with exhibitions What are the assumptions that go into designing
exhibits?
* Another way to think about this: You know youre in a traditional exhibition
when
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Exhibition rules
You know youre in a traditional
exhibition when
Orderly
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At the Smithsonian: a place for everything, and everything in its place. A tidy
vision of the world.
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The Wagner Free Institute of Science isnt tidy, but from a distance it
suggests an orderliness to the world that is quite endearing. Museums
present a view of the world that suggests that orderliness is possible, and
preferable.
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Even when displaying the most un-museum like artifacts possible orderliness suggest its a museum. Cigarettes, on exhibit at the Museum of
Innocence by Orhan Pamuk in Istanbul
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*****
Alphabetic
Geographic
In order
Chronological
Hierarchical
By category
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Chronology is the easiest kind of order for museums. Its also one that can
easily oversimplify, over-order. A history museum focused too narrowly on
timelines suggest that history had to happen the way it did, that it follows a
pre-ordained path.
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Timelines can get complicated in interesting ways. At the turn of the 20th
century, the Smithsonians anthropology and technology curators loved to
organize things in synoptic series. This was a more complex chronology - not
about time, but about progress. Order carries with it ideologies, meanings.
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A map filled the lobby of the Atwater Kent Museum, providing a geographic
order to Philadelphia history.
Timelines
But theres more than just orderliness, or putting things in order. Museums
suggest, more profoundly that the world is ordered.
Atwater-Kent Museum,
Philadelphia
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This focus on order is clear in the first modern art museums. Lambert Krahe
introduced a completely new and modern system of organizing paintings at
the Dusseldorf palace in 1770s. His aim was to create a pedagogical display
that educated viewers in the art-historical principles of the dierent schools
of art. The art museum, from this point on, was not about individual works,
but about art history.
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Not just art museums, of course - in fact, art museums were modeled on
natural history museums. A picture collection not arranged by school and
artist is as ridiculous as a natural history cabinet arranged without regard to
genus, class, or family.
Ordered
disciplined
like objects together
makes sense of the world
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You can see this in history museums, too. As Gary Kulik has pointed out,
Peales pedagogy and taxonomy were better suited to birds and mastodons
than to history and human culture. His gallery of heroes made the
Revolution tamer, more respectable, and more orderly than it ever could have
been. Peales museum oers a combination of orderly display, an ordered
display, and a suggestion that the world is orderly.
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Ever wonder what was behind the curtain? This picture gives a better sense
of the order of the Peale museum.
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There was disagreement about how best to organize exhibits, but there was
complete agreement that there had it be organization. Goode, the museum
philosopher of the 19th-century Smithsonian, put it thus: museums should be
arranged with the strictest attention to system.
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a comic book version of race, perhaps. order makes things too easy.
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Note start of red triangles exhibitions that break the rules! when you see
these - ask whats dierent about these
Dr. Albert Barnes upset the museum world by breaking the rules put
furniture and wrought iron on display with his Renoirs - he saw these as
aesthetic similarities, not as art-historical evidence.
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Part of the power of Fred Wilsons work is the way he plays with categories.
The label says: metalwork, which is a category that seems appropriate for a
museum. But somehow fine silver and slave shackles dont seem to rest
easily in our categories.
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This from a long case of artifacts that survive from the Jenks Museum of
Natural History - arranged, in a new installation by Mark Dion at Brown
University, by degree of decay not the usual way of thinking about museum
artifacts, but an appropriate for an exhibition on a museum thats
disappeared. Note the orderliness, even an exhibition about disorder.
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Some of the most interesting museum exhibitions of recent years are those
that break the rules, bend the categories, move beyond system. These are
exhibits that call attention to the orders and systems that we can too easily
take for granted.
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Digital allows many ways into the collection. Seb Chan at the Cooper Hewitt
argues that we need to consider the users wants and abilities in designing
interfaces to online collections. Tagging was fashionable a decade ago as a
way of allowing non-museum categories and terms. Chan suggests that
faceted searches across a wide range of categories - color, location, donor,
etc., serves users better - it lets users play with the categories. * heres what
you get Note - color turns out to be the most popular way of browsing
collections.
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The next set of rules: exhibits are designed for looking. Ill come back to the
fellow peering at museum exhibits with a skiascope in a moment.
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Exhibits are designed for looking. Artist Karin Jurick captures the essence of
museums in her series on Museum Patrons: people looking.
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Looking closely.
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This fascination with close looking reaches its ultimate state in Google
Cultural Project: a system designed to turn art into brushstrokes
Alcio de Andrade,
Louvre Museum, 1993
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Staring.
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Henri Cartier-Bresson,
Leningrad, 1973
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Even when art and artifacts are replaced by screens, its about looking.
Maybe even more so. We know so well how to look at screens.
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How might we encourage visitors to move beyond just looking. Here, first
close looking, and then drawing. Museum educators are doing wonderful
work in this area.
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Occasionally, museums are designed for other senses, but not very often. or
very well. Hearing - but only as an adjunct to looking. Almost never touching.
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There are new possibilities for moving beyond looking with new kinds of
screen. A new kind of attentiveness, of interaction, is possible.
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There are new possibilities for moving beyond looking with new kinds of
screen. A new kind of attentiveness, of interaction, is possible.
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Contextual?
The past century has seen a tug of war over what kind of context to provide
objects. Just a few examples.
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Many art museums have gone almost entirely to art without context. Brian
ODoherty explains this in his famous Inside the White Cube. How we look
at art how we look in museums changes over time, from many things to
look at, to intensive looking at one thing.
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The best expression of this framing is Benjamin Ives Gilmans skiascope outlined in his Museum Ideals of Purpose and Method (1918). He presents
the skiascope as a device to limit glare, but metaphorically, it does much
more than that: it isolates each piece of art.
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And so we have the white walls of the gallery, each painting given its space,
framed in many ways: its literal frame, but also by the edges of the wall, the
rope in front, the lighting, the circulation of visitors.
The ideal gallery subtracts from the artwork all cues that
interfere with the fact that it is art. The work is isolated
from everything that would detract from its own evaluation
of itself.
Brian ODoherty, Inside the White Cube, 1976
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Not everyone bought into this - Alexander Dorner at the RISD Museum tried
a range of techniques in his atmospheric rooms: colors, environmental
sounds, close listening - about creating an historically resonant emotional
context for the art. And theres been a revival, in big art museums, of
contextual shows that reconnect the art and decorative arts of a period.
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A remarkable show that broke museum rules by hanging the quilts high in the
air - not to be looked at closely, but to be appreciated as a collection, as a
set of patterns and colors - as a quilt of quilts!
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Anthropology have a dierent way of thinking about context. - here, all pots
toghether.
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Zulu diorama,
Smithsonian, about 1915
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Finally, opening up to many voices, many stories, personal contexts; not just
the expert providing the storyline, but letting the subject speak.
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Ill talk about three kinds of object rules - collecting rules, rules about treating
objects, and the notion that museums keep objects forever
Object Rules
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Collecting Rules
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First, what to collect: What is museum quality? Prof. Lieu, the Art Prof,
says: museum quality work is work that talks about contemporary issues,
yet is timeless.
While I dont like the notion of museum quality - museums collect should
collect work defined in many ways - this combination is not bad: meaningful
today, and meaningful in the future, maybe in dierent ways.
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Theres a long history of rules about what to collect - and what not to collect.
This is Burcaws famous listing of what isnt museum quality - rules that were
designed to professional the museum world - and which are superseded now
that were interested in not just history but also the way the public
understands and uses history Still no two-headed calves, though.
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Note Sir Flowers line about state of nature - he wants to collect the pure,
things as they were before commercial, global influences. Thats almost
impossible, of course, and now we are as interested in those influences as
the pure. Were interested in tourist art, in the impact of the global flow of
materials and ideas, global bricolage.
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TOurist art is interesting because it shows not purity but mixture, not single
traditions but cosmopolitanism
in the faculty essays - Heather Akou mentions that Somali costume has
always been about bricolage - couldnt find a picture, but bricolage doesnt
do well in museums weve liked purity.
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The word Id use to describe it: we must respect the object. This means each
thing seen separately, protected, held for ever.
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All objects equally precious - the historic house museum world is talk about
the Rembrandt Rule - the idea that everything needs to be treated like its a
Rembrandt. click once for both images -
They are starting to ask the question about whether this is true - whether it
would be better to tilt more toward education and less toward preservation a hot topic in the museum world.
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This was not always the case. Note the way these paintings are hung - floor
to ceiling, overlapping - not respectful in the current sense.
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The ultimate taboo: Open the case and touch the flowers. Museums are
supposed to keep the cases closed!
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Benjamin Filene, the curator of Open House, broke many rules: Not
authentic artifacts from the house; words and artifacts mixed
promiscuously; many of the artifacts not museum artifacts - bought for this
exhibit. Many dierent voices overlapping.
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One of the most shocking exhibitions ever at the Met. Not shocking because
of the sex but costumes from the collection shown in a lively way and
placed into period rooms. And broken objects!
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Dangerous Liasons,
Metropolitan Museum of Art, 2004
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Maira Kalman not only cuts open the back of the chair to install a screen
she has handwritten labels!
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Early museums were much less concerned with authentic, and more with
teaching. And so cast museums were common.
This is Browns museum of casts - * and other casts, now in the basement of
the economics department, for some reason
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Some interesting new possibilities if we let go of the idea of the original being
the only thing the museum is about. This is not a visitor feeling an original At
the Van Gogh Museum, visually impaired visitors can feel a 3-D printed
version of Sunflowers, as well as explore a model of his The Bedroom and
smell lavender. s
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3-D printed sword that looks and feels like original, so that visitor can touch
it. More or less authentic than the original in a case?
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Museums like to think they keep objects for ever. I want to ask two
questions. Do they, and should they?
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Answer to the first: they dont really. (Of the 174 paintings that were part of
the Metropolitan Museum's first purchase in 1871, only 60 are in the
collection now. Only 19 are on view today.)
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When Ive taken students to visit museums, this is always what they like best
- what they remember most. But theyre also horrified by the notion that no
one gets to see them
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I couldnt resist
We need to think of storage as more than just - dead storage. And museums
have started to find ways to use their stored collections for their educational
goals, to bring them to life.
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At Brown, we put our museum storage racks inside of glass exhibit cases.
We literally put storage on display!
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The Glasgow Museums Resource Centre is open for occasional visits organized mostly for storage, but also for display.
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And, of course, visible storage and study rooms are becoming more
common. Here, the Victoria and Albert Museum.
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The V&A is asking: How can we reinvent museums - how do we change the
rules - so that the public can make use of our objects?
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Harvard Art Museums new Art Storage Center - anyone can ask to come and
see any work of art.
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Some of the most fascinating exhibits mix the storage and the gallery - the
first one was Warhols Raid the Icebox
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The collection of the Jenks Museum at Brown was lost, literally carted o to
the dump - here, its storage recreated as an art project. 80 student artistss
were given lists of collections that did not survive, and summoned forth their
ghosts.
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Finally, some more general curator rules.* When I gave an earlier version of
this talk, the title was read as The curator rules!, with an exclamation mark.
Im more interested in that phrase, without an exclamation mark.
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Curators make choices both because they are trained to - they were what
Sachs called the trained elite. Paul Sachs was head of the Harvard
Museum program in the 1920s and 30s - trained most of the museum
directors of his day - and this still stands as widely held belief - even if most
museum directors are less likely to be so blunt.
Curator Rules
Curators are experts, and
make the choices
http://harvardmagazine.com/2002/09/reverence-for-the-object.html
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The strong sense of high
purpose and personal
responsibility and the
strict intellectual
integritymark the
museum curator. As a
professional he is a
stronghold of individual
initiative and
responsibility in a world
threatened by the ant
heap of collectivism.
Remington Kellogg,
Director, USNM, 1952
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Akeley was the mastermind of the natural history dioramas at the AMerican
Museum of Natural History.
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Robert Multauf, explaining why the Museum of History and Technology todays National Museum of American History - was divided into exhibits
organized according to the specialized interests of the curators.
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One answer: Ask non-curators what they think. Let them make choices about
art and artifact to display.
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Give artists uncharted spaces to work in, and to present their own work.
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Or, as an important recent book suggest let go. Letting go means working
with the community, working with your audiences in new ways.
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It might mean reorganizing the museum so that curators are part of a team
responsible for visitor experience, not collections.
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Alternative Museum
Organizational Chart
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Display rules
Conveys authority
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Object rules
To what extent are curators thinking of the big picture of the museum, to
what extent their own work? what structures shape collecting?
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Curator Rules
And finally: the curator rules? The traditional rule is that the curator is an
expert, and a specialist - and that expertise is defined as academic, subject
matter expertise. This assumption about the nature of expertise allows the
curator to be not a person, not part of the story, but an anonymous voice of
authority.
This last rule seems so central to museums - but broken now in every other
medium. What would happen if we broke these rules?
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Some final thoughts on how we might break the rules. What if we put the
audience first? If our collections and exhibits overcame the bureaucratic
structures of the museum? If we first asked, as John Cotton Dana
suggested, how might we be useful?
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Breaking Rules
Overcome bureaucracy.
Todays Museum
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What innovations are need? Not technological ones - though it seems that
the digital space opens up new possibilities for story telling and sharing.
Rather, the innovations needed are cultural - new ways of thinking about our
work, the culture of our organizations.
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Opening up our work - taking a hard look at our culture - will help us change.
And thats the greatest challenge.
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Thank you