Western Museums Association
CALL FOR NOMINATIONS

 The Western Museums Association is proud to announce the sixth annual 

Charles Redd Center for Western Studies

Western Museums Association Award for Exhibition Excellence

Deadline: May 1

The Western Museums Association is pleased to consider applications for this annual award honoring excellence for an exhibition that furthers the study and understanding of the American West. The award was founded by the Charles Redd Center for Western Studies at Brigham Young University.

The competition recognizes outstanding achievement of a temporary exhibition (i.e. one with a specific closing date) from all types of museums as defined by the American Association of Museums (AAM), without regard to geographical location, size, budget, discipline or age. The exhibition must have as its principal subject some aspect of the American West, defined as that area west of the Rocky Mountains, including Alaska and Hawaii. General subjects include, but are not limited to: the arts and humanities, social/historical studies, ethnic/native studies, and natural/ecological studies. The exhibition must have opened to the public in the year prior to that in which the award is given.

The application deadline for the award is May 1. A representative designated by the honored institution will be presented with an award at the annual meeting. The recipient will also be recognized in the Fall issue of WestMuse. Send application to: Awards Committee, Western Museums Association,  P.O. Box 8367, Emeryville, California 94662. Return no later than May 1, (postmark date). You will receive a confirmation upon receipt of your application, and you will be notified of the final award results no later than July 1.

In order to qualify for the award, nominees must meet the following criteria:

• 1. Eligibility is not limited by geographical location, size, budget, discipline, or age.
• 2. The exhibition for which the museum is nominated must be a temporary exhibition (i.e. with a defined closing date) that opened in the calendar year previous to that in which the award is given, that has as its primary display and interpretive emphasis some aspect of the American West: i.e., west of the Rocky Mountains, including Alaska and Hawaii. Subjects include, but are not limited to the arts and humanities, social/historical studies, ethnic/native studies, and natural/ecological studies.
• 3. Preference will be given to those exhibits that foster the American West as a legitimate study for museums and the general public, that utilize innovative exhibition and public programming possibilities, that result from creative collaboration with communities or organizations (including museums and universities) beyond the sponsoring institution, and that engage audiences in the subject of the exhibition in compelling ways.
• 4. The exhibition must have a physical location open to the general public. The exhibition may be supplemented by film, website, and publications, however, at this time, these alternative media do not quality as “exhibition” on their own for the purposes of this award.

The exhibition will be judged by the Western Museums Association Awards Committee using the above criteria and utilizing the exhibition standards adopted in 1997 by the Standing Professional Committees Council of the American Association of Museums, “Standards for Museum Exhibitions and Indicators of Excellence,” written by Beverly Serrell. These standards can be found below. 

Charles Redd Center for Western Studies Western Museums Association Award for Exhibition Excellence

NOMINATION FORM

Deadline: POSTMARK May 1.

(Self-nominations are permitted)

Name of Nominating Individual:___________________________________________________

Title/Institution: ________________________________________________________________

Contact Information:  Ph ______________________ E-mail_____________________________  

I nominate the following institution for the Charles Redd Center for Western Studies Western Museums
Association Award for Exhibition Excellence:

Institution: ____________________________________________________________________

Exhibition Title: _______________________________________________________________

Opening Date: __________________________________

Closing Date: __________________________________

Individual Contact:______________________________________________________________

Mailing Address: _______________________________________________________________

City/State/Zip: _________________________________________________________________

Ph: _______________________________E-mail: _____________________________________  

Website Address: _______________________________________________________________  

Please make four copies of this nomination form and include in the package four copies of each of the following:

• Narrative (<10 pages) that defines the scope and purpose of the exhibition and addresses the award criteria as outlined on page one #1- #4 and in the statement “Standards for Museum Exhibitions and Indicators of Excellence” (can be found below).
• Visual media form; slides set <15 total, CD, or DVD < 15 minutes, depicting a walk-through of the exhibition. The purpose of these visuals is to give a sense of the exhibit as a whole, not to highlight individual objects. Videos that supplement the exhibition may be submitted as optional material supporting the exhibit.  
• A floorplan to give the committee an image of the schematic layout of the exhibit.
• Label text. Include the whole text, if brief; otherwise, include the major concept labels and samples of subordinate labels and captions.
• Brief description of associated educational programs, activities, and publications.
• Summary budget (one page) with total cash cost and major subcategories. Do not include staff time.

Mail the nominations package to: Awards Committee, Western Museums Association, P.O. Box 8367, Emeryville, California 94662. Any questions should be directed to the WMA office at (510) 665-0700 or elida@westmuse.org. 

STANDARDS FOR MUSEUM EXHIBITIONS AND INDICATORS OF EXCELLENCE

developed by the Standing Professional Committees Council of the American Association of Museums 1997

INTRODUCTION

Exhibitions are the public face of museums.  The effective presentation of collections and information in exhibitions is an activity unique to museums, and it is through their exhibitions that the vast majority of people know museums. 

Museum exhibitions are complex, and even modest ones require the time, energy, and expertise of many people.  Museums now realize that effective planning, management of resources, research and interpretation, collections care, marketing, merchandising, design and fabrication, public programs, publications, and fund raising all contribute to the fulfillment of a museum’s mission.  However, it is vital that we as a profession not lose sight of the importance of the exhibition in its own right.

STANDARDS FOR MUSEUM EXHIBITIONS

An exhibition is successful if it is physically, intellectually, and emotionally engaging to those who experience it.  What follows is an outline of exhibition features that generally result in success.  A competent exhibit need not demonstrate all of these features.  The outline should be viewed as suggestive rather than precisely prescriptive.  In fact, there is little that can be--or should be--prescriptive about good exhibition design.  We should always allow for purposeful--and often brilliant--deviation from the norm.

The following standards for museum exhibitions are organized in six major categories followed by descriptions of what constitutes effectiveness for each category and a listing of specific ways the category might be expressed in an exhibition.

1.  Audience awareness

Did the audience respond well to the exhibition, and was the response consistent with the exhibition’s goals?

Some specific ways this standard is achieved and demonstrated are:

• There is convincing evidence that the exhibition achieved its purpose(s) for its intended audiences and/or there is convincing evidence that the exhibition surpassed its intended goal(s) and resulted in unanticipated, positive experiences for visitors.

• Decisions about content, means of expression, and design are based on decisions about the intended audience.

• Visitors are given information in a variety of formats to accommodate various needs and preferences.  If not, why not?

• The exhibition is designed to accommodate those who wish to skim as well as those who wish to take more time.  If not, why not?

2.  Content

Does the exhibition respect the integrity of its content?

Some specific ways this standard is achieved and demonstrated are:

• Subject is appropriate to an exhibition format, with its use of collections, environments, phenomena, and other means of physical presentation of content.  

• Significant ideas, based on appropriate authority, are clearly expressed through reference to objects in the exhibition.

• The content reflects current knowledge of the subject.

• The subject is of current interest or the exhibition contributes to creating interest in a subject of importance.

• There is a sufficient number of objects to present the subject of the exhibition.

3.  Collections

Have conservation and security matters been appropriately addressed?

Some specific ways this standard is achieved and demonstrated are:

• Objects are mounted appropriately.

• The requirements of good conservation (light levels, climate control) and security are met.

4.  Interpretation/Communication

Is the information/message of the exhibit clear and coherent? If not, is there a good reason why not?

• Some specific ways this standard is achieved and demonstrated are:

• The exhibition title communicates the subject and sounds appealing.

• There is a clear idea or set of ideas expressed, and those ideas are clear to viewers.

• There is a discernible pattern to the way content is presented, and if not, there is a good reason why not.

• There are coherent, easy-to-follow, and consistent formats for presenting information and eliciting responses, and if not, there is a good reason why not.

• Assumptions and points-of-view are clearly identified.

• If appropriate to the subject matter, the exhibition need not provide definitive answers.  Raising questions and providing a forum for ideas may suffice.

• Specific topics and individual objects are treated in a manner appropriate to their importance.

• Interpretive media (labels, lighting, interactives, video, etc.) are appropriate to the exhibition’s goals, content, and intended audiences.

• The exhibition is engaging.  Efforts are made to make the subject matter come alive through attractive presentation and opportunities for establishing personal connections and meaning.

5.  Design and production

Are the media employed and the means used to present them in spatial planning, design, and physical presentation appropriate to the exhibition’s theme, subject matter, collection, and audiences?

• Some specific ways this standard is achieved and demonstrated are:

• Design elements (i.e. color, light, graphic treatments, exhibit furniture) contribute to and support the exhibition’s ideas and tone.

• Orientation at the start and throughout the exhibition provides visitors with a conceptual, physical, and affective overview of the exhibition.  Spatial organization supports the exhibition’s organization.   Traffic patterns are obvious to visitors and support the exhibition’s sequencing of information and experiences.  If not, there is a good reason why not. 

• For each element of the exhibition (furnishing, audio-visuals, sound, printed materials, graphics), the materials used and the quality of production are appropriate to the design concept, audiences, duration, and budget of the exhibition.

6.  Ergonomics:  human comfort, safety, and accessibility

Is the exhibition physically accessible?  Are visitors comfortable and safe while viewing the exhibition?

Some specific way this standard is achieved and demonstrated are:

• If the exhibition includes any potentially troubling material, visitors are forewarned so they can make informed decisions about whether they want to see it.

• Instructions are given when needed; they are clear and easy to understand. 

• There is seating, as appropriate.

• Labels are engaging, informative, legible, and easily understood.

• The exhibition is fully accessible to all its visitors, and the needs of all potential visitors are addressed.

INDICATORS OF EXCELLENCE IN MUSEUM EXHIBITIONS

While many exhibitions achieve a competent level of professionalism, each year there are a few exhibitions that achieve excellence by surpassing standards of practice in scholarship, interpretation, and/or design or by introducing innovations that stretch the boundaries of accepted practice.  Such exhibitions are highly distinguished and serve as models of the capacity of museum exhibitions to provide transforming experiences visitors so often attribute to them. 

Some specific indicators of exhibition excellence are:

• An aspect of the exhibition is innovative.

• The exhibition offers a new perspective or new insight on a topic.

• The exhibition presents new information.

• The exhibition synthesizes and presents existing knowledge and/or collection materials in a provocative way.

• The exhibition includes innovative uses of media, materials, and other design elements.

• The exhibition is particularly beautiful, exceptionally capable of engendering a personal, emotional response, and/or profoundly memorable in a constructive way.

• The exhibition evokes responses from viewers that are evidence of a transforming experience.  Such experience are often characterized in these ways:  It was haunting.  The exhibition was an absolute eye-opener.  I’ll never see XXX in the same way again.  I was filled with excitement.  It knocked my socks off.  It sent shivers down my spine.  I finally got it!