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  1. by on - Editorial

    Editorial Issue 07

  2. by on - Editorial

    Editorial for special issue: 'Curating Medicine'

  3. by , , , on - Research

    This paper contributes to a critical understanding of current language and discourses of participatory and co-creative practices, through a case study of a large, permanent exhibition development – the Science Museum's Information Age gallery – which opened in 2014.

  4. by on - Review

    This article considers the innovative approach that Fairfield has adopted as a heritage centre, office-space and working ship fabrication yard, on the banks of the River Clyde in Glasgow.

  5. by on - Discussion

    Introduction to a mini-festschrift in honour of Robert Bud

  6. by on - Research

    This paper examines presentation of the material culture of graphene in the Wonder Materials exhibition by looking at ten of the objects on display, exploring the role they play in making the challenging nanoscience topic of the exhibition engaging for visitors.

  7. by on - Research

    This article analyses the exhibition and reception of Tropical Africa at the 1924–25 British Empire Exhibition, drawing attention to affect, the senses, and spatiality. It emphasises the need to look beyond curatorial intent and consider the multiplicity of potential experiences within World’s Fairs.

  8. by on - Research

    Among the many mechanical models based on Leonardo da Vinci’s drawings, several purport to illustrate his experiments on friction. This article traces the history of these models and examines them critically in the light of recent research into Leonardo’s studies of friction.

  9. by on - Discussion

    This article explores the challenges of displaying the history of information and communications in a museum environment, based on Information Age, the Science Museum’s new permanent gallery.

  10. by on - Discussion

    This essay explores the ambiguous status of photographs in museums and the impact of institutional thought-landscapes on that status. Which photographs are understood as ‘important’ and thus collectable and which are not, and under what conditions?

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