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The Basics
Museum and Gallery Studies: The Basics
Museum and Gallery The Basics is an accessible guide for the student approaching Museum and Gallery Studies for the first time. Taking a global view, it covers the key ideas, approaches and contentious issues in the field. Balancing theory and practice, the book address important questions such This user-friendly text is an essential read for anyone wishing to work within museums and galleries, or seeking to understand academic debates in the field.
- GenresNonfictionMuseology
236 pages, Paperback
Published December 1, 2017
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March 10, 2025…interesting and important topics discussed…but there is a special place in hell for the person who decided to make this entire textbook ONLY 6 CHAPTERS! 😩😩😫
September 22, 2020
Okay. I'm definitely in the right field. Aesthetics, psychology, anthropology, art history, social justice, writing... it's all here. This was a fascinating read and raises apt questions about what functions museums are destined to serve, how, and for whom.
February 12, 2024
In Museum and Gallery Studies: The Basics, Mason, Robinson, and Coffield address the fundamentals of museums and galleries in a user-oriented guide. Prioritizing accessibility and concision, the authors developed what is essentially a handbook for scholars new to the fields of museology and museography. This book gently guides the reader through the most cardinal elements of the field, including the principles of museum history, how to develop collections with museums in mind, navigating targeted communities, maintaining culture, designing with intention, and predicting the future of museum and gallery spaces. In that regard, reading this book is reminiscent of being led by a knowledgeable tour group. Overall, the goal of this book is to provide interested individuals with a baseline understanding of what museums and galleries are, to explain how they are maintained, and to offer predictions about what the futures of these spaces will look like.
Although this book examines the fundamentals of museums and galleries, the content of this book is anything but basic. Contrarily, the introduction component itself presents the complexities of museums and galleries and asserts that these spaces are more complicated than one may originally believe. Conclusively, the authors explain that museums and galleries exist to serve a myriad of purposes, virtually all of which are to serve as societies’ mirrors. The book refines this conclusion in the last chapter in which the three authors look forward and predict the direction in which these spaces are headed. According to Mason, Robinson, and Coffield, they are moving at an accelerated pace towards a more politicized existence as many of these spaces redirect themselves to represent the underrepresented. Whereas some of the earliest museums were conceptualized as spaces to celebrate a society’s achievements or to flaunt an individual’s accomplishments, museums are now at a new crossroad of prioritization: exist in an effort to immortalize a concept in truth or meet the demands of stakeholders with personal agendas. These priorities are not mutually exclusive, but they still vie to take precedence. In sum, while this book presents itself as a guide through museum and gallery “basics”, it makes a striking argument that museums and galleries are learning spaces in a constant state of flux where few things remain constant, one of which being that museums are places of reflection.
The introductory chapter covers a wealth of knowledge, making this portion much longer than one might expect. The main goal of the introduction is to address the most pressing questions curious minds have about museums and provide context as readers pursue sufficient answers. Why do museums and galleries exist? Who are they for? Are they biased or unbiased? These questions– and many more– arise within this portion. Rather than providing a direct answer to any question, perhaps within a question-and-answer format, the book provides an overview of these concepts so that the reader may come to their own conclusions by reading the remainder of the content. The introduction leads into chapter one, “First Principles”, in which the ever-evolving definitions of museums and galleries are explored. In this chapter, the authors address the origins of museums and related collections and discuss the procession of museums throughout recorded history.
Moving forward, chapter two, “Collecting and Collections”, dives deeper into the makeup of museums and galleries, providing substantial insight into what societies value putting on display. In this chapter, the role of the curator is defined, as are the critical separations between collecting to uphold tradition versus collecting to uphold history and the daunting task of preserving the present so that it may find itself in the hands of the future. Furthermore, the role of the curator is elaborated upon as more than a manager of material things, but as a keeper of all echoes of the past, including the intangible (especially digital). Curators, as the authors clarify, hold magnificent responsibility in determining the value (in more ways than one) of the things that exist in societies. In chapter three, “Visitors and Audiences”, the reader/patron is drawn into the text more by becoming a critical part of museums and galleries as these spaces largely exist for them. Visitors’ motivations, ease of access, and barriers are assessed in this chapter to further refine the role museums play in their respective communities.
This is complemented by the fourth chapter, “The Business of Culture”, which diverts from the personal aspect of museology and focuses rather on these spaces as businesses, marketplaces, investments, and, at times, charities. This uplifts the political element of museums and galleries and displays the delicate balance between what the space’s community wants and what the stakeholders are willing to deliver. Additionally, chapter five, “Display, Interpretation, and Learning” reverts to a curatorial view and explores how a museum’s or gallery’s space is artistically designed to serve specific purposes and to elicit a predetermined reaction from its visitors. Finally, chapter six is called “Looking Forward”. In this chapter, the authors address the social implications and changing impacts of museums and galleries, offering a glimpse into what pre-existing patterns suggest about the future of these spaces.
There is very little that any reader could say negatively about Museum and Gallery Studies: The Basics. It is somehow simultaneously concise and rich with information, making it the ideal “textbook” for an introductory class or any novice museologist or curator. The beauty of this book is that it allows the reader to think for themselves– something which many textbooks refuse to do– and fervently declares that museums and galleries are not simply defined by any means. They are, instead, complex microcosms that reflect the things society wishes to remember, whether in jubilee or melancholy. The book offers no singular definition of museums or galleries and does not attempt to confine the expectations of these spaces into a neat box. Society’s most complex mirrors are instead looked at via a sprawling web of intricacies. Some readers may be intimidated by the sheer idea that these spaces are not run like well-oiled machines, necessarily, but rather are constantly being molded like pieces of clay. Any criticism of this book would likely be voiced by someone intimidated by the fluctuating concept of these spaces entirely, and therefore the negativity would not stem from the construction of the book itself but rather from a misunderstanding of the energy museums and galleries uphold.
As mentioned previously, the authors took great strides in making such a complex collection of concepts so concise and user-friendly. This book, which is barely 236 pages (counting the acknowledgements, introduction, and index), is segmented into easily-digestible portions with each chapter being broken down into multiple subheadings. It is easy for a reader to read the content of one subheading, consider what they have read, and then briskly move onto the next portion. An avid reader can easily finish this book within a day and not feel that they have rushed or scanned too haphazardly; a solid understanding of the material can generally be gleaned within a short reading session. Therefore, this book is perfect for an introductory class for eager-but-overwhelmed students who are new to the field or for anyone with a profound interest in museums and galleries as places of learning.
Conclusively, Museum and Gallery Studies: The Basics addresses the most pressing questions about these particular spaces while giving the reader the autonomy to come to their own conclusions. Rather than answering any of the questions directly, the guide provides readers with the facts and allows them to consider their implications. While this book is best suited for students new to museum and gallery studies, it is also a pleasant read for anyone with a special interest in these learning spaces and anyone exploring deeper connotations behind what their community’s museums and galleries are presenting to them.
Although this book examines the fundamentals of museums and galleries, the content of this book is anything but basic. Contrarily, the introduction component itself presents the complexities of museums and galleries and asserts that these spaces are more complicated than one may originally believe. Conclusively, the authors explain that museums and galleries exist to serve a myriad of purposes, virtually all of which are to serve as societies’ mirrors. The book refines this conclusion in the last chapter in which the three authors look forward and predict the direction in which these spaces are headed. According to Mason, Robinson, and Coffield, they are moving at an accelerated pace towards a more politicized existence as many of these spaces redirect themselves to represent the underrepresented. Whereas some of the earliest museums were conceptualized as spaces to celebrate a society’s achievements or to flaunt an individual’s accomplishments, museums are now at a new crossroad of prioritization: exist in an effort to immortalize a concept in truth or meet the demands of stakeholders with personal agendas. These priorities are not mutually exclusive, but they still vie to take precedence. In sum, while this book presents itself as a guide through museum and gallery “basics”, it makes a striking argument that museums and galleries are learning spaces in a constant state of flux where few things remain constant, one of which being that museums are places of reflection.
The introductory chapter covers a wealth of knowledge, making this portion much longer than one might expect. The main goal of the introduction is to address the most pressing questions curious minds have about museums and provide context as readers pursue sufficient answers. Why do museums and galleries exist? Who are they for? Are they biased or unbiased? These questions– and many more– arise within this portion. Rather than providing a direct answer to any question, perhaps within a question-and-answer format, the book provides an overview of these concepts so that the reader may come to their own conclusions by reading the remainder of the content. The introduction leads into chapter one, “First Principles”, in which the ever-evolving definitions of museums and galleries are explored. In this chapter, the authors address the origins of museums and related collections and discuss the procession of museums throughout recorded history.
Moving forward, chapter two, “Collecting and Collections”, dives deeper into the makeup of museums and galleries, providing substantial insight into what societies value putting on display. In this chapter, the role of the curator is defined, as are the critical separations between collecting to uphold tradition versus collecting to uphold history and the daunting task of preserving the present so that it may find itself in the hands of the future. Furthermore, the role of the curator is elaborated upon as more than a manager of material things, but as a keeper of all echoes of the past, including the intangible (especially digital). Curators, as the authors clarify, hold magnificent responsibility in determining the value (in more ways than one) of the things that exist in societies. In chapter three, “Visitors and Audiences”, the reader/patron is drawn into the text more by becoming a critical part of museums and galleries as these spaces largely exist for them. Visitors’ motivations, ease of access, and barriers are assessed in this chapter to further refine the role museums play in their respective communities.
This is complemented by the fourth chapter, “The Business of Culture”, which diverts from the personal aspect of museology and focuses rather on these spaces as businesses, marketplaces, investments, and, at times, charities. This uplifts the political element of museums and galleries and displays the delicate balance between what the space’s community wants and what the stakeholders are willing to deliver. Additionally, chapter five, “Display, Interpretation, and Learning” reverts to a curatorial view and explores how a museum’s or gallery’s space is artistically designed to serve specific purposes and to elicit a predetermined reaction from its visitors. Finally, chapter six is called “Looking Forward”. In this chapter, the authors address the social implications and changing impacts of museums and galleries, offering a glimpse into what pre-existing patterns suggest about the future of these spaces.
There is very little that any reader could say negatively about Museum and Gallery Studies: The Basics. It is somehow simultaneously concise and rich with information, making it the ideal “textbook” for an introductory class or any novice museologist or curator. The beauty of this book is that it allows the reader to think for themselves– something which many textbooks refuse to do– and fervently declares that museums and galleries are not simply defined by any means. They are, instead, complex microcosms that reflect the things society wishes to remember, whether in jubilee or melancholy. The book offers no singular definition of museums or galleries and does not attempt to confine the expectations of these spaces into a neat box. Society’s most complex mirrors are instead looked at via a sprawling web of intricacies. Some readers may be intimidated by the sheer idea that these spaces are not run like well-oiled machines, necessarily, but rather are constantly being molded like pieces of clay. Any criticism of this book would likely be voiced by someone intimidated by the fluctuating concept of these spaces entirely, and therefore the negativity would not stem from the construction of the book itself but rather from a misunderstanding of the energy museums and galleries uphold.
As mentioned previously, the authors took great strides in making such a complex collection of concepts so concise and user-friendly. This book, which is barely 236 pages (counting the acknowledgements, introduction, and index), is segmented into easily-digestible portions with each chapter being broken down into multiple subheadings. It is easy for a reader to read the content of one subheading, consider what they have read, and then briskly move onto the next portion. An avid reader can easily finish this book within a day and not feel that they have rushed or scanned too haphazardly; a solid understanding of the material can generally be gleaned within a short reading session. Therefore, this book is perfect for an introductory class for eager-but-overwhelmed students who are new to the field or for anyone with a profound interest in museums and galleries as places of learning.
Conclusively, Museum and Gallery Studies: The Basics addresses the most pressing questions about these particular spaces while giving the reader the autonomy to come to their own conclusions. Rather than answering any of the questions directly, the guide provides readers with the facts and allows them to consider their implications. While this book is best suited for students new to museum and gallery studies, it is also a pleasant read for anyone with a special interest in these learning spaces and anyone exploring deeper connotations behind what their community’s museums and galleries are presenting to them.
This entire review has been hidden because of spoilers.
November 18, 2019
A very interesting book that´s suitable both for those who already have some understanding of museology / museum studies and for those who are new to these topics. The book is divided into 5 main chapters dealing with the most important issues of the field (basics, collections, visitors, business, display) and possible future trends.
May 14, 2018
A concise and well argued introduction to the field. Recommend to anyone with an interest in the philosophy behind such collecting institutions and how they exist, perform, evolve and survive in the modern day.
Displaying 1 - 5 of 5 reviews