ACRL News Issue (B) of College & Research Libraries C&RL News ■ January 2002 / 19 news College & Research Libraries The surprise part of a librarian’s life Exhibition design and preparation course by Andrew Dutka, Sherman Hayes, and Jerry Parnell A fter w e h ad com pleted o u r u m p teen th exhibit this past year, Andy, Jerry, and Sherm w ere com m iserating o n the fact w e all h a d b eco m e (o u t o f choice o r neces­ sity) accom plished exhibit designers and cu­ rators as part o f our university library func­ tion at th e University of North Carolina at W ilm ington (UNCW). U pon reflection, w e n o te d that n o n e of us had received formal training, theoretical p re p a ra tio n , o r e v en p ractical w o rk sh o p training o n h o w to successfully p roduce an exhibit. Initially som e o f us w ere u n h ap p y w ith having to sp e n d time a n d energy on exhibits b ecau se it took aw ay from o ther duties. H owever, in the fall o f 1999, the Spe­ cial Collections at Randall Library expanded, doubling its size an d including a large p u b ­ lic space w ith display cases an d w alls suit­ able for displays. With the capacity increased, w e w ere in the business by choice an d o p ­ portunity. We assum ed that in libraries it was m ainly the few, large an d prestigious that h ad the time, energy, an d resources to do displays. A u contraire, th e follow ing ex am p les dem onstrate h o w w e are creating exhibits and doing it regularly. Even our informal con­ versations w ith colleagues at public librar­ ies, com m unity colleges, small colleges, and tha other mid-size universities indicate that schol­ arly an d o th er types o f display are beco m ­ t ing m ore useful as an outreach tool. In the follow ing article, w e suggest that current an d future library school curriculum sh o u ld include a u n it on exhibit design and p rep aratio n principles. We offer som e prac­ tical suggestions based o n o u r recen t e x p e­ riences. Librarians w h o find them selves as exhibit specialists (w h eth er p rep ared or not) hopefully will learn som e n ew insights or p erh ap s com m iserate w ith o u r self-educa­ tional process. Why are exhibits important to libraries? 1 . T e a c h in g t o o l . An ex h ib it is a w o n ­ d erfu l o p p o rtu n ity fo r th e library to o rg a ­ n ize m aterials a ro u n d a th em e a n d p re s e n t th a t to its a u d ie n c e s as a self-learn in g e x ­ p e rie n c e . W hile a lectu re m ay be p a rt o f th e p ro cess, o r g u id e d to u rs a n d p rin te d m aterials m ay su p p le m e n t an exhibit, m ost exhibits are useful b e c a u se individuals can interact w ith th e m aterial at their o w n pace, a n d this in te ra c tio n m eets th e in d iv id u a l’s n e e d s in a n u n m o n ito re d lea rn in g e x p e ri­ ence. W ith all th e w ays w e learn , ex h ib its c o n tin u e to b e a p o w erfu l a n d p o p u la r for­ mat. About the authors A n d re w Dutka is coordinator o f special collections a nd archives a t the University o f N orth Carolina a t W ilm ington, e-mail: dutkaa@ uncw il.edu; Sherman Hayes is u n ive rsity lib ra ria n a t U niversity o f N o rth C arolina a t W ilm in g to n , e-m ail: hayess@unwil.edu; and Jerry Parnell is m anager o f reference services a t the University o f N orth Carolina a t Wilm ington, e­ mail: pameHg@unwil.edu mailto:dutkaa@uncwil.edu mailto:hayess@unwil.edu mailto:pamellg@unwil.edu 20 / C&RL News ■ January 2002 2. S c h o la r ly p ro d u c tiv ity . In addition to traditional forms o f scholarly output, such as books and journal articles, w e have ac­ cepted for our faculty exhibit creation as a legitimate form o f scholarly output. Based on our informal survey o f library tenure docu­ ments and anecdotal exam ples, it seem s that other institutions are recognizing this schol­ arly effort. T here is n o question that the standards for quality and com prehensiveness o f such exhibits are not uniform. However, our e x ­ perience shows that if approached correctly, the exhibit offers an opportunity for a library faculty member or team to create a scholarly product. E xh ib its call fo r our best thinking, research, writing, p la n n in g , o r g a ­ nizing, and time. T h e exh ibit may e v e n h a v e s u p p l e m e n t a l products, such as e x h ib itio n c a ta ­ l o g s , t e a c h i n g b i b l i o g r a p h i e s , Web sites, travel­ Replicating the feeling of a movie theater lobby, the main entrance to a film-themed exhibit invites the patron to explore. Physically altering an exhibit space helps create a mood and enhances the impact of the exhibit. in g p r o d u c t s , summary articles describing the e x ­ hibit, or a formal curatorial lecture on the exhibited material. Most exhibits are tim e-based and not repli­ cated for the professions like a publication. This should not minimize the potential pro­ fessional growth offered by this type o f schol­ arly endeavor. 3 . U se o f u n iq u e c o lle c tio n s . Some col­ lections, particularly materials in Special Col­ lections and Archives, will seldom b e seen or used unless they are physically presented. 4 . P h y s ic a l d ra w in g c a r d . Collections that are visual, oral, or tactile bring people into the facility. In order to teach and stimu­ late those w ho com e into the facility and create new reasons to com e in, w e have cre­ ated a coordinated exhibit strategy. We find that our interaction with potential and ac­ tual custom ers has changed over time. If an individual can get inform ation via full-text search in g for journals, h e or she will no longer autom atically com e into our physical facility. Exhibits are just one method of draw­ ing n ew customers. 5. T e c h n o lo g ic a l o u tr e a c h too l. We are in the process o f creating a virtual tour of fine art held in the library. This is a blend of new programming and perm anent exhibit design. Electronic Web exhibits may be tem­ porary, prom otional, or becom e permanent electronic resources. W hile there are unique issues in developing Web exhibits compared to physical in-house exhibits, there are more com monalities. 6. C re a tin g a buzz. Although our core b u s in e ss e s generate the greatest volume of s e r v ic e and usage, m any times it is the s p e c ia l e x h ib it that c r e a te s ex c item en t. The exh ibit may get c o v e ra g e in a local n e w s p a p e r , ev en th o u g h o n ly a few hundred com e to see it. T h e thousands of bo o k s added or hun­ d r e d s o f c la s s e s taught, w hile central to your mission, sel­ d o m g e n e r a t e the publicity, buzz, or rec­ ognition. 7 . P a r tn e r s h ip s . T he space that is available for exhibition can b e a powerful tool for working with many different types o f units on campus. Few de­ partments have the materials, space, and staff that are available in the library. Recent ex­ hibits produced in our spaces, led by library faculty, include alliances with History, Earth Sciences, English, Film Studies, and Theatre departments; Student Publications; Wellness Center; University Union; University Rela­ tions; and Museum o f World Cultures. In addition to library-designed exhibits, there may b e opportunities to use your space for traveling exhibits, w hich involves less ac­ tual design by the library, but still involves planning, placem ent, and prom otion. The partnerships help the library reach out to its patron base and develop ongoing relation­ ships. T he off-cam pus relationships may tie to existing collections, need ed community C&RL News ■ January 2002 / 2 1 service, potential donors, o r o th er cultural organizations. T here may b e potential p ro b ­ lems m eeting the needs of com m unity m em ­ bers w ho are no t u sed to w orking w ithin an academ ic environm ent, including raising and using resources, decision making, content, an d exhibit design. D onors m ay w an t their gift displayed in a certain w ay o r during a time period that does not fit the n eed s o f the university. 8 . D o n o r r e c o g n i t i o n a n d d e v e l o p ­ m e n t . M any u n u s u a l ite m s , in c lu d in g m an u scrip ts an d co llectio n s, are given to an acad em ic library. T he d o n o r h o p e s an d expects their “sp ecial” gift to be recognized, a p p re c ia te d , a n d u sed . O n e o f th e m ost effective w ays to d o this is to c o n stru c t an exhibit h o n o rin g th e c o n te n t of the gift an d th e d o n o rs. T h e e x h ib it a n d su p p o rtin g ev e n ts m ay b e p a rt o f a b ig g e r d e v e lo p ­ m en t effort th at h e lp s identify a n d c u lti­ vate n e w d o n o rs. Components of exhibit design A. Q u a lity e x p e c t a t i o n . T he public ex­ pects, based o n their experiences w ith other exhibits an d com m ercial visual products, high-quality exhibits w ith professional visual im pact an d standards. T he public m akes no distinction b etw een any o f y o u r products; all sh o u ld be visually dynamic. B. W h o d e s ig n s ? The advent of the com ­ p u ter does no t necessarily m ean that w e are all goo d graphic designers. We recom m end that any librarian involved in displays u n ­ derstands the graphic packages available and visual products o n the market. A lthough you m ay w ork w ith partners, the librarian should coordinate the design effort. C. K e y d e s i g n e le m e n t s . The exhibit has to have a h o o k th at is tied to a them e or specific ed u catio n al goal. First, o n e m ust choose the intellectual reason for the exhibit. W hat d o you w an t your view er to learn? Should the view er be ch an g ed after partici­ pating in your exhibit (entertained, informed, em otionally affected, changed opinion, in­ spired, p ro u d o f institution)? We think that th ere sh o u ld b e a co o rd in ated visual h o o k in addition an educational hook. D . P la n n i n g a n d in t e g r a t i o n . An ex­ hibit, from idea to com pletion, is a com pli­ cated and, hopefully, a thoughtfully planned experience. If o n e tackles any o th er schol­ arly w ork, they w ould plan, draft, involve colleagues, establish goals an d objectives, and d o all o f the deliberate m anagerial steps to help ensure a successful product. Exhib­ its should n o t b e different. While many people are ready to help hang the exhibit, time sh o u ld be sp en t planning early in the concept, w riting textual support, layout, an d p rep arin g traffic patterns and vi­ sual goals before you just start “hanging.” The text o r o th er m ethods of presenting the inform ation (audio, video, interactive com ­ puter) m ust b e do n e in concert w ith the ed u ­ cational goals of the project. An integrated, p lan n ed exhibit at its m any levels produces the best results. However, in defense of those w ho prepare and plan exhibits, there are spur of the m om ent opportunities and dem ands that m ake com plete planning an ideal not always a reality. E. E x h ib it s te a m . We reco m m en d a col­ legial ap p ro ach (i.e., project team , com m it­ tee, task force, w ork group) to th e exhibit process, since it is difficult to find o n e indi­ vidual w h o has all th e n e e d e d strengths in visu al d esig n , p ro je c t c o n c e p tu a liz a tio n , m arketing, layout, an d writing. Exam ples of roles played by a variety o f o u r library staff included: idea generator, layout designer, ar­ tifact preparer, labeler, bibliographer, p ro ­ curer, builder, scheduler, writer, event p lan ­ ner, caterer, security planner, interpreter, p h o ­ tographer, videographer, lighting designer, marketer, an d conservation specialist. Every­ o n e can contribute som ething to the team , but th ere n eed s to b e an overall coordina­ tor. Further reading • Wayne W eigand, “This M onth, 107 Years Ago,” A m erica n Libraries 31, no. 6 (June/July 2000):127. • N orm an Morton, “Anatomy o f Com­ m unity Relations Success,” A m erica n Li­ braries 32, no. 2 (February 2001): 40-42. • Lissa Lord, “Keeping O ur W ord” C&RL Neivs60, no. 8 (S eptem ber/O ctober 1999): 629-632, 644. • Sherry Lynch, editor. Chap. 2-4 in The Libraria n ’s Guide to Partnerships, (Highsmith Press, Wisconsin, 1999). 22 / C&RL News ■ January 2002 F. Types o f e x h ib it v e n u e s. You may be surprised by how many potential exhibit spaces exist in your library. Samples o f our found space include: • fixed display case at entry (traditional glass shelved unit best for attention-grabbing exhibits that need protection); • portable eight-foot high exhibit wall that can be configured in multiple ways using Velcro technology to hold com ponents (this is a nontraditional format for libraries, but com m o n in trade shows, the material can n ot b e unique or p ro te c te d , but this is a very flex­ ib le a n d q u ic k venue); • stationary flat display cases near Special Collections (traditional tool best in su p p lem en tin g Special Collections exhibits for material needing security); A television monitor plays a video loop of scenes evoking the era in the same film-themed exhibit. The moving images and sounds help to further enhance the viewers' experience in what otherwise may be a • c u r r ic u lu m materials center us­ ing a large bulletin b o a rd , s im ila r to static display. ones used in public schools, which is great for student art and flat exhibits not needing security; • 60-foot exhibition wall, approximately 12-feet high, with adjustable spotlights. This traditional exhibition space is supplemented with Plexiglas cases for showing three dimen­ sional artifacts. This area is used for major art exhibits and museum displays and is painted and repaired after each use. • special collections room has an inte­ grated display space, including a large flat wall (reusable), two large glass security dis­ play cases, and various furniture surfaces. • Archives has two sites, one inside of the room itself with som e wall surfaces and portable cases, as well as a second long dis­ play wall outside o f the room; and • other open areas can b e used with ea­ sels, ceiling hung displays, cabinet surfaces, and standing artifacts. We have invested in a variety o f display to o ls to su p p o rt o u r e x h ib its , su ch as Plexiglas cases, b ook holders, pillows, por­ table Velcro walls, portable museum walls, glass clip fram es, reu sable picture fram es, die cut letter m achine and the requisite foam core, fabrics, glues, tools, and other supplies. Venues can b e categorized also by ow n­ ership, timeframe, cost, and learning deliv­ ery systems. It is important to classify the ownership o f the exhibit to help identify re­ sponsible parties and budgetary divisions. The length o f time the exhibit is displayed, as well as the time within the academic year, are k ey e le ­ m ents o f strategy. We h a v e c o n ­ structed a library- wide exhibit calen­ dar to help plan and c o o r d i n a t e o u r many venues. The f r e q u e n c y o f chang e in the e x ­ hibit space is a n e­ gotiable item, and on e needs to b al­ an ce exh ibit turn­ o v e r w ith e d u c a ­ tional goals and re­ sources so that the spaces are not changed haphazardly. Costs can be self-funded, grant funded, partner­ ship funded, funded by the seat o f your p ants, u n -fu n d ed , u n d er-fu n d ed , over- funded, and disguised as funded from som e­ thing else. Venues can b e flat surface informational, display case multidim ensional, interactive, guided, W eb-based, or som e com bination o f the above. T he existing sp ace and bud ­ gets dictate the b est ap p roach for your e x ­ hibit. T he key is to inclu de analysis o f space, ownership, cost, timeframe, and de­ livery system s as part o f your earliest plan­ ning discussions. While none o f us are ready to subcontract as exhibit designers, we feel that, ready or not, through study, trial and error and mutual sup­ port we have all raised our professional abili­ ties in the area o f exhibit design, preparation, and management. We may have been surprised by our new roles, but w e feel that the increas­ ing emphasis on library exhibits is a vital part o f our service mission. ■ C&RL News ■ January 2002 / 23