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Ignite the Power of Art: Advancing Visitor Engagement in Museums (Dallas Museum of Art Publications)
 
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Ignite the Power of Art: Advancing Visitor Engagement in Museums (Dallas Museum of Art Publications) [Paperback]

Bonnie Pitman (Author), Ellen Hirzy (Author)
3.0 out of 5 stars  See all reviews (2 customer reviews)

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Book Description

January 24, 2011 Dallas Museum of Art Publications

How do visitors like to experience art? What makes for an enriching museum visit? The Dallas Museum of Art undertook a groundbreaking seven-year research initiative to answer these questions, examining how people connect with art and identifying preferences and differing behaviors.

Ignite the Power of Art publishes these findings and provides a new understanding of museum visitors. It describes how these studies have been used to build attendance, enhance exhibits, and develop new programs such as the Center for Creative Connections, the online Arts Network, and the Late Nights event series, all at the Dallas Museum of Art. Furthermore, the book describes how this research, which goes far beyond traditional demographic data and analyses, has transformed the Museum, unleashing a profound change in institutional thinking and paving the way for sustained innovation. Also included are interviews with community leaders who offer their perspectives and insights on the Dallas Museum of Art’s remarkable revitalization.


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Editorial Reviews

Review

"Bonnie Pitman writes with a leader's analytic vision and capitalizes on the institutional experience of the Dallas Museum of Art's staff and an overall commitment to research. . . . This book adds to a growing museum theory base of different ways to think about visitors."—Susy Watts, Museum
(Susy Watts Museum )

About the Author

Bonnie Pitman is the Eugene McDermott Director at the Dallas Museum of Art and serves on the Board of American Association of Museums. Ellen Hirzy is an independent writer and editor for museums, arts organizations, and other nonprofits.

Product Details

  • Paperback: 238 pages
  • Publisher: Dallas Museum of Art (January 24, 2011)
  • Language: English
  • ISBN-10: 0300167547
  • ISBN-13: 978-0300167542
  • Product Dimensions: 7 x 0.6 x 10 inches
  • Shipping Weight: 1.8 pounds (View shipping rates and policies)
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #479,044 in Books (See Top 100 in Books)

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2 of 2 people found the following review helpful
5.0 out of 5 stars Visitor Connectivity February 8, 2011
Format:Paperback|Amazon Verified Purchase
Ignite the Power of Art sparks visitor connectivity with museums. Kudos to Pitman and Hirzy for developing a framework for engaging that is grounded in research and speaks to the preferences of the museum visitor. This work is an inspiring contribution to all museums that seek memorable and meaningful visitor engagement.

Shelley Kruger Weisberg
Program originator, Museum Movement Techniques
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5 of 14 people found the following review helpful
1.0 out of 5 stars artists' rights vs museums January 27, 2011
Format:Paperback
Pitman's concept is not new. In 1993 former Metropolitan Museum of Art director Thomas Hoving authored "Making the Mummies Dance: Inside the Metropolitan Museum of Art" about his experience and after being urged by a New York City mayor to make the Met more attractive to the public. In Russell Lynes 1973 book "Good old Modern: An intimate portrait of the Museum of Modern Art" Lynes wrote about long time MoMA director and expert exhibit installer Rene d'Harnoncourt, who said "Who comes first, the installer or the guy who's being installed?...A museum director shouldn't add to a work of art, he must not prostitute the whole thing and finally make a peepshow of it....If some museum directors like to do that sort of thing, let them use eggs, not works of art." Another example can be found in editor Brian O'Doherty's 1972 book "Museums in Crisis." Bryan Robertson wrote a chapter for it entitled "The Museum and the Democratic Fallacy" and says "...the public, conditioned by the strenuous and massively simple slogans of advertising and the super-realistic giantism of cinemascope, now expects to find a commensurate spectacle at the museum and is dismayed not to find some semblance of showbiz glitter in the permanent collections as well as temporary installations. But it is absurd that the size of an audience should take precedence over what happens to visitors inside a museum. Numbers may relate to a democracy but not to art." In Harold Rosenberg's 1983 book "Art on the Edge: Creators and Situations" chapter 25 and 26 zero in on what has become of the art world in the U.S., essentially saying the artist had been demoted, that what art critics had to say about art had become more important than either the artist or the work itself. If Pitman is truly interested in making the museum-going experience more attractive to the public she should immediately declare free museum admission. The DMA is a nonprofit and enjoys tax-free status. Her model would be U.S. public libraries, which obviously are free. Further, Dallas wildflower artist Chapman Kelley directly challenged Pitman's book premise when in 2010 he asked her to remove his award-winning painting Sand Dune (1960) from a DMA 'Coastlines' exhibit because she allowed some unauthorized acoustics to be added to it. Kelley said his personality and moral rights were violated by her 'added on' sound effects. These rights are codified in a section of U.S. copyright law called the Visual Artists Rights Act of 1990. Art historian Sam Blain analyzed this artists' rights issue recently in his Dallas Art History blog.
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