The First Art Newspaper on the Net   Established in 1996 Thursday, March 4, 2021


New book from Lund Humphries goes behind the scenes at the museum
Fig.2.7 p.66 William Parrott, Turner on Varnishing Day 1840, oil on panel, 25 × 24.2 cm (9 ¾ × 9 ½ in), frame 45 × 43.7 × 10 cm (17 ¾ × 17 ¼ × 4 in). Collection of the Guild of St George, Museums Sheffield. The size, and weight, of the frames, especially Turner’s, are clear to see in this painting. Photograph courtesy of Collection of the Guild of St George, Museums Sheffield.



LONDON.- Dinah Casson, co-founder of Casson Mann, museum and exhibition designers for over 30 years, guides the inquisitive museum visitor through a series of questions and problems which confront museum curators, and their designers, behind closed doors. With a foreword by Christopher Frayling

The transformation of museums from the ‘dreary, dusty places’ they used to be to places that people want to be in, alongside objects they want to be near and ideas they want to understand and then share has been extraordinary. During the last twenty-five years, millions of pounds have been poured into our national museums in the UK: as a result, they are certainly brighter and fuller. It is against this background that Dinah Casson has opened the service entrance of the museum a little.

This book is not an explanation of what an exhibition designer does or how to do it. Instead, by means of a series of essays punctuated with comments from collaborators and visitors, it explores exhibition design and alerts the visitor’s eye to this invisible craft. It explores questions such as: why are most paintings in carved, gilded frames, regardless of artist, period or subject matter? Why do so few contemporary art galleries have windows? If a label text irritates us, what should it say instead? Why do facsimiles make some people so uncomfortable? Why do we keep all this stuff? What is it that visitors want from our museums? In doing so, it offers enjoyable insights, which will add depth to our future visits through the front door (which is usually closed on Mondays) and will make us question what is shown, why it’s shown where (and how) it is, what’s written about it and how the interaction between museums and their designers has encouraged each to change.

Since co-founding Casson Mann in 1984, Dinah Casson has been involved in some of the most interesting and complex of recent museum installations both in the UK and overseas. The award-winning practice is recognized as one of the leading companies in the field.










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