Two what, or to whom do you focus your interpretation when planning exhibitions? The Z axis of the competing values model ranges from Democratization of Culture to Cultural Democracy. The X axis of the competing values model ranges from the object to the audience. Focusing on The Object puts interpretive focus on an artwork or object, where a content expert or curator shares information with a passive visitor. Focusing on The Audience puts interpretive focus on the visitor, allowing a curator or curatorial team to support the visitors' educational experience.
Who is included in the curatorial process from the beginning of exhibition planning to the end? The Y axis of the competing values model ranges from the object to the audience. The Lone Creative is typically a single curator or expert selecting and interpreting objects based on a topic. A Collaborations shares curatorial power with educators and other museum staff with appropriate knowledge bearers and stakeholders from the community.
What is the cultural policy you hold when planning an exhibition? The Z axis of the competing values model ranges from Democratization of Culture to Cultural Democracy. Think of the curatorial statement, to whom, or at what is it directed? Democratization of Culture focuses on access, assumes a dominant cultural viewpoint, and shares art with audiences. Cultural Democracy focuses on inclusion, is collaborative, assumes there are multiple perspectives, and bases discourse in the community.
Object (x) + Lone Creative (y) + Democratization of Culture (z) = Disseminate
You can read more about exhibitions that disseminate in Chapter 10: Traditional Practice that Disseminates: Native Brazil/Alien Brazil by Anna Bella Geiger, Peter Aerts, and Aline Van Nereaux, and Chapter 11: Something's Off: Reconsidering Traditional Practice by Michelle Sunset
Object (x) + Lone Creative (y) + Cultural Democracy (z) = Discern
You can read more about exhibitions that discern in Chapter 12: Discerning the Cryosphere: Humans and Climate in Art from the Frances Lehman Loeb Art Center, Vassar College by Elizabeth Nogrady, and Chapter 13: Discerning with a Good Voice: Hówašte at the Heritage Center by Ashley Pourier and Audrey Jacobs, and Chapter
What is the cultural policy you hold when planning an exhibition? The Z axis of the competing values model ranges from Democratization of Culture to Cultural Democracy. Think of the curatorial statement, to whom, or at what is it directed? Democratization of Culture focuses on access, assumes a dominant cultural viewpoint, and shares art with audiences. Cultural Democracy focuses on inclusion, is collaborative, assumes there are multiple perspectives, and bases discourse in the community.
Object (x) + Collaborative (y) + Democratization of Culture (z) = Enrich
You can read more about exhibitions that enrich in Chapter 14: Not Just Dissemination, an Enriched Experience: Ming Dynasty Costume Exhibition by Xiaonan Jiang and Xuejing Dai, and Chapter 15: SKIN, a Multisensory Art Exhibition for Children Aged Eight and Older and Their Families by Stefanie Metsemakers and Gerd Dierckx
Object (x) + Collaborative (y) + Cultural Democracy (z) = Amplify
You can read more about exhibitions that amplify in Chapter 16: Challenging Romaphobia: The Case of a Romanian Carnival Mask at Museum by Julia Ferloni and Emilie Sitzia, and Chapter 17: Lock & Key Creative Expression Lab: A Curated Space During the Pandemic by Ashley Hartman, Melanie Rosato, and Nancy Azria
Who is included in the curatorial process from the beginning of exhibition planning to the end? The Y axis of the competing values model ranges from the object to the audience. The Lone Creative is typically a single curator or expert selecting and interpreting objects based on a topic. A Collaborations shares curatorial power with educators and other museum staff with appropriate knowledge bearers and stakeholders from the community.
What is the cultural policy you hold when planning an exhibition? The Z axis of the competing values model ranges from Democratization of Culture to Cultural Democracy. Think of the curatorial statement, to whom, or at what is it directed? Democratization of Culture focuses on access, assumes a dominant cultural viewpoint, and shares art with audiences. Cultural Democracy focuses on inclusion, is collaborative, assumes there are multiple perspectives, and bases discourse in the community.
Audience (x) + Lone Creative (y) + Democratization of Culture (z) = Mediate
You can read more about exhibitions that mediate in Chapter 18: The Same Four Walls: Inspiration and Reflection During a Global Pandemic by Lesley Marchessault, and Chapter 19: SCREEN IT: A Mediation-Driven Approach to Art, Technology and Audience by Pieter Jan Valgaeren
Audience (x) + Lone Creative (y) + Cultural Democracy (z) = Inspire
You can read more about exhibitions that inspire in Chapter 20: The Boneyard: Inspiring Through In-Gallery Artist Demonstrations by Courtney Taylor, Andy Shaw, and Grant Benoit, and Chapter 21: There Is No Planet B! An Audience Participation Project Meant to Inspire by Aline Van Nereaux
What is the cultural policy you hold when planning an exhibition? The Z axis of the competing values model ranges from Democratization of Culture to Cultural Democracy. Think of the curatorial statement, to whom, or at what is it directed? Democratization of Culture focuses on access, assumes a dominant cultural viewpoint, and shares art with audiences. Cultural Democracy focuses on inclusion, is collaborative, assumes there are multiple perspectives, and bases discourse in the community.
Audience (x) + Collaborative (y) + Democratization of Culture (z) = Empower
You can read more about exhibitions that empower in Chapter 22: EmPOWER: Learning from Our Youngest Community Members at the Clyfford Still Museum by Nicole Cromartie and Bailey H. Placzek, and Chapter 23: Anybody Home? by Roselyne Francken and Tammy Wille
Audience (x) + Collaborative (y) + Cultural Democracy (z) = Act
You can read more about exhibitions that act in Chapter 24: Collaborative Reach of a Site-Specific Exhibition That Addresses School Segregation by Katie Fuller and Patricia O'Rourke, and Chapter 25: Boundless Hospitality: M from a Different Perspective by Sofie Vermeiren