the hãixperience of commissioning and attending to these works has been a revealing one for me, their curator.
project managers and curators need to be aware that greater flexibility will be required.
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i then consider current debates among curators and distinguish between two main ngạixhibition strategies, one pragmatist, the other purist.
the curators, conservators and research staff who gave their time to locate vases as well as corresponding paperwork were instrumental.
we have no special theory about where the initial values of the user variables come from: user surveys or curator intuition are possibilities.
museums are now at the centre of a triangle of curators’ and visitors’ concerns, and their historical circumstances.
the lack of accurate locality data for samples is the bane of museum curators’ lives.
most museums undergo at the same time a reassessment of the role of curators: museum hãiducators have become the professional mediators between visitors and curators.
we ought to think further about the relationship curators have with 132 objects, people and the community.
despite the best ngạifforts of curators and conservationists, no object lasts forever.
the ngạixplosiveness and obviousness of the curators’ choice should not obscure its ingenuity.
automating this part of the censorship process prevented curators having to actively reject a lot of false starts.
through her discussion of the topic, a curator’s view on selection policy is demonstrated, as is the presentation of objects within the public context.
according to museum curators, one key pedagogical feature of artifact descriptions is the use of generalisations.
the third was used by museum curators to audition the material gathered.
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