This book is a fresh reflection on the study of museum innovation, with special attention paid to the enabling role of collaboration within the process. It sets out to capture the innovation dynamics of museums and explore to what extent and how collaborative arrangement can contribute to different types of innovative activities in the museum sector. The book presents a holistic review of museum innovation from multiple perspectives of, among others, economics, sociology, museology, and organisational study, while adopting an interdisciplinary approach to explore and analyse the innovation process and collaboration mechanism from the viewpoint of economics and sociology. The research presented is based on three interdependent aspects: first, a holistic definition and taxonomy of innovation in museum organisations; second, qualitative and quantitative analysis of the enabling role of collaboration in technological, cultural, and organisational innovation in museums; and third, multiple case studies for the identification and evaluation of effective collaboration models in different types of innovation. This is a problem-oriented study, which avoids focusing on those large and super museums that have been well-documented in prior studies; instead, it concentrates on small- and medium-sized museums, which account for more than 85% of museums in the world and have become the main resources of cultural tourism and the creative economy at a regional level. Primarily written for postgraduates, researchers, and academics interested in innovation study, innovation in cultural and creative sectors, and museum study, the findings may also have important implications on innovation management and policy for regional museums and public authorities.

“This is a must-read for the nervous novice as well as the world-weary veteran. The book guides you through every aspect of exhibit making, from concept to completion. The say the devil is in the details, but so is the divine. This carefully crafted tome helps you to avoid the pitfalls in the process, so you can have fun creating something inspirational. It perfectly supports the dictum—if you don’t have fun making an exhibit, the visitor won’t have fun using it.” —Jeff Hoke, Senior Exhibit Designer at Monterey Bay Aquarium and Author of The Museum of Lost Wonder Structured around the key phases of the exhibition design process, this guide offers complete coverage of the tools and processes required to develop successful exhibitions. Intended to appeal to the broad range of stakeholders in any exhibition design process, the book offers this critical information in the context of a collaborative process intended to drive innovation for exhibition design. It is indispensable reading for students and professionals in exhibit design, graphic design, environmental design, industrial design, interior design, and architecture.

Museum Innovation encourages museums to critically reflect upon current practices and adopt new approaches to their civic responsibilities. Arguing that museums have a moral duty to perform, the book shows how social innovation can make them more equitable, relevant and impactful institutions. Including contributions from a diverse group of international scholars, practitioners and researchers, the book investigates the innovative approaches museums are taking to address contemporary social issues. The volume focuses on the concept of social innovation and individual chapters address a range of crucial issues, such as climate change; the COVID-19 pandemic; diversity and inclusion; the travel ban; and the repatriation of museum collections. Exploring the impact that organizational structures have on museums’ aspirations to act as agents for social change, the book also unpacks how museums can establish sustainable relationships with minority communities. Proposing steps that museums can take to affirm their relevance as viable community partners, the book breaks down silos and connects ideas across different areas of museum work. Museum Innovation explores the role of contemporary museums in society. It is essential reading for academics, students and practitioners working in the museum and heritage studies field. The book’s interdisciplinary nature makes it also an interesting read for those working in business studies, digital humanities, visual culture, arts administration and political science fields.

Visitor participation is a hot topic in the contemporary world of museums, art galleries, science centers, libraries and cultural organizations. How can your institution do it and do it well? The Participatory Museum is a practical guide to working with community members and visitors to make cultural institutions more dynamic, relevant, essential places. Museum consultant and exhibit designer Nina Simon weaves together innovative design techniques and case studies to make a powerful case for participatory practice. "Nina Simon's new book is essential for museum directors interested in experimenting with audience participation on the one hand and cautious about upending the tradition museum model on the other. In concentrating on the practical, this book makes implementation possible in most museums. More importantly, in describing the philosophy and rationale behind participatory activity, it makes clear that action does not always require new technology or machinery. Museums need to change, are changing, and will change further in the future. This book is a helpful and thoughtful road map for speeding such transformation." -Elaine Heumann Gurian, international museum consultant and author of Civilizing the Museum "This book is an extraordinary resource. Nina has assembled the collective wisdom of the field, and has given it her own brilliant spin. She shows us all how to walk the talk. Her book will make you want to go right out and start experimenting with participatory projects." -Kathleen McLean, participatory museum designer and author of Planning for People in Museum Exhibitions "I predict that in the future this book will be a classic work of museology." --Elizabeth Merritt, founding director of the Center for the Future of Museums

Much of the existing economic literature on innovation has taken a particularly functional viewpoint as to what innovation might be. This book explores 'soft innovation', found in the creative industries such as publishing, film-making, advertising, and architecture, which has been, hitherto, ignored in innovation studies.

Experimental Museology scrutinizes innovative endeavours to transform museum interactions with the world. Analysing cutting-edge cases from around the globe, the volume demonstrates how museums can design, apply and assess new modes of audience engagement and participation. Written by an interdisciplinary group of researchers and research-led professionals, the book argues that museum transformations must be focused on conceptualizing and documenting the everyday challenges and choices facing museums, especially in relation to wider social, political and economic ramifications. In order to illuminate the complexity of these challenges, the volume is structured into three related key dimensions of museum practice - namely institutions, representations and users. Each chapter is based on a curatorial design proposed and performed in collaboration between university-based academics and a museum. Taken together, the chapters provide insights into a diversity of geographical contexts, fields and museums, thus building a comprehensive and reflexive repository of design practices and formative experiments that can help strengthen future museum research and design. Experimental Museology will be of great value to academics and students in the fields of museum, gallery and heritage studies, as well as architecture, design, communication and cultural studies. It will also be of interest to museum professionals and anyone else who is interested in learning more about experimentation and design as resources in museums. “The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license."

"Academics, Artists, and Museums examines twenty-first century partnerships between the museum and higher education sectors, with a focus on art museums and exhibits"--

A fundamental issue for twenty-first century archaeologists is the need to better direct their efforts toward supporting rather than harming indigenous peoples. Collaborative indigenous archaeology has already begun to stress the importance of cooperative, community-based research; this book now offers an up-to-date assessment of how Native American and non-native archaeologists have jointly undertaken research that is not only politically aware and historically minded but fundamentally better as well. Eighteen contributors—many with tribal ties—cover the current state of collaborative indigenous archaeology in North America to show where the discipline is headed. Continent-wide cases, from the Northeast to the Southwest, demonstrate the situated nature of local practice alongside the global significance of further decolonizing archaeology. And by probing issues of indigenous participation with an eye toward method, theory, and pedagogy, many show how the archaeological field school can be retailored to address politics, ethics, and critical practice alongside traditional teaching and research methods. These chapters reflect the strong link between politics and research, showing what can be achieved when indigenous values, perspectives, and knowledge are placed at the center of the research process. They not only draw on experiences at specific field schools but also examine advances in indigenous cultural resource management and in training Native American and non-native students. Theoretically informed and practically grounded, Collaborating at the Trowel’s Edge is a virtual guide for rethinking field schools and is an essential volume for anyone involved in North American archaeology—professionals, students, tribal scholars, or avocationalists—as well as those working with indigenous peoples in other parts of the world. It both reflects the rapidly changing landscape of archaeology and charts new directions to ensure the ongoing vitality of the discipline.

As art museum educators become more involved in curatorial decisions and creating opportunities for community voices to be represented in the galleries of the museum, museum education is shifting from responding to works of art to developing authentic opportunities for engagement with their communities. Current research focuses on museum education experiences and the wide-reaching benefits of including these experiences into art education courses. As more universities add art museum education to their curricula, there is a need for a text to support the topic and offer examples of real-world museum education experiences. Engaging Communities Through Civic Engagement in Art Museum Education deepens knowledge on museum and art education and civic engagement and bridges the gap from theory to practice. The chapters focus on various sectors of this research, including diversity and inclusion in museum experiences, engaging communities through new techniques, and museum and university partnerships. As such, it includes coverage on timely topics that include programs and audience engagement with the LGBTQ+, refugee, disability, and senior communities; socially responsive museum pedagogy; and the use of student workers. This book is ideal for museum educators, museum directors, curators, professionals, practitioners, researchers, academicians, and students who are interested in updated knowledge and research in art education, curriculum development, and civic engagement.

Museum Innovation and Social Entrepreneurship makes a contribution towards building a museum perspective of innovation that takes into consideration the unique role of museums in society. Beginning and ending with the idea of museum innovation in a wider sense, the book takes digital innovation as a particular focus. Drawing on innovation theories from business studies and case studies from national museums in the US and the UK, as well as numerous examples of innovative museum projects around the globe, the author unpacks, in practical terms, what it means for museums to be innovative and socially enterprising. As a result, Eid presents a research-based model of innovation in museums, which is flexible enough to be fully or partially adopted by any museum, regardless of size, location, mission or nature of the collections it houses. As such, this model makes innovation in museums scalable, replicable and feasible to start and operate. Supplying the museum studies field with essential terminologies and conceptual frameworks related to innovation, Museum Innovation and Social Entrepreneurship helps to forge new ideas and create common ground with other disciplines. Therefore, the book should be essential reading for academics, researchers and graduate students working in the fields of museum and heritage studies, digital humanities and business studies. It should also be of great interest to practitioners working in museums around the globe.