Journal papers by Stuart Frost
Social History in Museums , 2015
Legacy - National Association for Interpretation, 2020
Legacy -The Magazine of the National Association for Interpretation, 2018
Legacy. The Magazine of the National Association for Interpretation , 2018
This short article focuses on the British Museum exhibition “Ancient Lives: New Discoveries” (May... more This short article focuses on the British Museum exhibition “Ancient Lives: New Discoveries” (May 2014–July 2015). This exhibit focused on eight mummies from the British Museum’s collection, mummies that were not on permanent display but which had been the focus of innovative new research. The article focuses on the role of visitor research and evaluation in developing the exhibition and assessing the public response to it.
Social History in Museums, 2017
A special edition of the Social History in Museums Journal co-edited by Stuart Frost, Helen McCon... more A special edition of the Social History in Museums Journal co-edited by Stuart Frost, Helen McConnell Simpson and Verity Smith with fourteen articles by different authors. The volume focuses on the collecting, interpretation and exhibition of LGBTQ histories and was published to coincide with the fiftieth anniversary of the partial decriminalization of homosexuality in England and Wales in July 2017.
Legacy The magazine of the National Association for Interpretation, 2014
Legacy - The National Association of Interpretation, 2014
The British Museum received over 6.5 million visits in 2013, making it the most-visited museum in... more The British Museum received over 6.5 million visits in 2013, making it the most-visited museum in the United Kingdom. Its collection encompasses the world and documents human culture from its origins to the present day. The museum's interpretation team works collaboratively to develop new permanent exhibits and special exhibitions and has undertaken systematic and rigorous evaluation regularly from 2005 onwards. We now have a rich and valuable archive of data about visitor behavior that informs all of our work.
Third Text: Volume 33, 2019 - Issue 4-5: Exhibiting the Experience of Empire: Decolonising Objects, Images, Materials and Words, 2019
This article uses visitor research to explore public attitudes to the British Museum and percepti... more This article uses visitor research to explore public attitudes to the British Museum and perceptions of its relationship to the history of the British Empire. Firstly, it provides an analysis of direct messages received by the Museum over a twelve month period via letters, emails and comments on social media platforms. Secondly, it draws on short interviews undertaken with visitors upon arrival at the Museum before entry. Thirdly, it draws on formative and summative evaluation for two recent British Museum special exhibitions that explicitly addressed imperial and colonial histories, ‘Indigenous Australia: Enduring Civilization’ (23 April – 2 August 2015) and South Africa: The Art of a Nation’ (27 October 2016–26 February 2017). Finally, it draws on focus groups (April 2018) held to explore perceptions of the Museum held by culturally active non-visitors. Collectively this insight highlights the Museum’s vast potential to inform contemporary debates about empire by developing new approaches to displaying and interpreting its collection.
![Research paper thumbnail of Social History Curators Group Journal [Review] First World War Galleries](https://attachments.academia-assets.com/45206652/thumbnails/1.jpg)
Imperial War Museum, London The Imperial War Museum's First World War galleries opened in July 20... more Imperial War Museum, London The Imperial War Museum's First World War galleries opened in July 2014 to almost universal acclaim, attracting such large numbers of visitors that at peak times ticketing needed to be implemented. On my most recent visit, the volume of visitors appeared have settled into a more typical pattern; the overall impact of the displays remained as high as when I saw them for the first time. The First World War galleries are in many ways more like a special exhibition than typical permanent displays with multiple entry points and fluid visitor paths. There is a linear sequence of around fourteen sections and a chronological narrative; there is one entry point, and one exit. Once a visitor enters they have to follow the sequence, and the overall experience is more tightly choreographed than most free admission displays. It is an approach with obvious advantages given the primary focus on the events of four years. The exhibition begins with an audiovisual presentation, The People of Britain 1900-1914, and several ship models including HMS Hercules, a Dreadnought emblematic of the prewar rivalry between Britain and Germany. Original film footage is overlaid with short statements and statistics, reminding the viewer, for example, that women weren't allowed to vote, that the average life expecatancy in the East End of London was 30 and that the capital was home to over 300,000 horses. Further context is given in Hope and Glory, a section that highlights Britain's status as a major world power before the outbreak of war. An introduction to the gallery is provided in British Sign Language, and there is also a raised plan with Braille captions. The causes of the Great War – a conflict that few expected at the time – are dealt with concisely, largely through an audiovisual presentation. The main focus in these displays is on the events of the war itself, after initial waves of patriotic optimism gave way to shock and stalemate. The experiences of those who saw active service and those who contributed on the Home Front are integrated together, providing a holistic view of the impact of the conflict. The expansion of fighting to Africa, Asia and the Middle East is also addressed. There is an impressive range of interpretation throughout: ambient audio, a film theatre, digital interactives, replica clothing for visitors to try on, and family labels. The section on recruitment, Your Country Needs You, allows visitors to measure themselves to see whether or not they would meet the requirements to enlist in the British army. The ruler for measuring height contains texts along its surface to illustrate how standards were relaxed as the war progressed, and the need for new recruits became more pressing. The attention to detail is impressive and the influence of both the access and youth panels that supported the development of the galleries is evident throughout.
Exhibition (Spring 2016) Vol. 36 No. 1, Apr 20, 2016
This article first appeared in Exhibition (Spring 2016) Vol. 36 No. 1, and is reproduced with per... more This article first appeared in Exhibition (Spring 2016) Vol. 36 No. 1, and is reproduced with permission.
Papers by Stuart Frost
Museum International, 2021
Abstract This article is a personal reflection that examines the impact of the pandemic on the Br... more Abstract This article is a personal reflection that examines the impact of the pandemic on the British Museum’s (BM) onsite interpretation and audiences; however, it is informed by robust visitor insight and evaluation as well as by direct experience. Quotes from the public are incorporated throughout. Covid-19 led to the BM’s closure on 18 March 2020, the first of several national lockdowns in the United Kingdom. The museum eventually reopened some of its galleries on 27 August 2020 with a carefully curated one-way route, primarily on the ground-floor initially. George Floyd’s death was another pivotal moment in 2020. In response, the BM’s Director issued a statement in support of Black Lives Matter (BLM). This was welcomed by staff and volunteers, but it also attracted some critical comments on social media, including calls for the return of looted African objects within the BM’s collection. The museum made some modest but significant changes ahead of reopening, introducing a Collecting and Empire trail along the one-way route and redisplaying a bust of the Museum’s founder Sir Hans Sloane to acknowledge his links to slavery and empire. The museum’s income-generating exhibition programme was much impacted by the pandemic, with planned shows Tantra: enlightenment to revolution and Arctic: culture and climate opening much later than intended, with significantly reduced visitor capacity and major adaptations. Another lockdown in December meant that the runs of both exhibitions were curtailed, with that for Arctic being drastically shortened. A significant shift to online events and resources, however, enabled these exhibitions to reach new, global audiences. The BM again re-opened on 17 May 2021, with the government subsequently lifting Covid restrictions in England on 19 July 2021. However, the pandemic has radically changed the BM’s visitor numbers and typical audience profile by massively reducing the number of international visitors. The events of 2020-21 remind us of how interconnected our world is and how quickly what happens elsewhere affects us all. The challenges for museums have rarely been greater, but there are also opportunities for institutions to rethink their relationships with audiences and the wider public.
Histories of sex and sexuality have often been omitted from the interpretive frameworks of museum... more Histories of sex and sexuality have often been omitted from the interpretive frameworks of museum and heritage sites. Many museums confined sexually graphic material to basement stores, omitting
the ‘unpalatable’ aspects of cultures from public display. The British Museum’s recent exhibition, Shunga: sex and pleasure in Japanese art reflects significant attitudinal changes, both institutionally and in society at large.
Sexually explicit paintings, prints, and illustrated books known as shunga (‘spring pictures’) were produced in Japan in considerable quantities between 1600-1900. The British Museum’s recent exhibition was one outcome of a five year collaborative research project aimed at furthering
understanding of shunga. The sexually explicit nature of the material posed some unique challenges. In order to explore these issues this paper draws on evaluation undertaken both to inform the development of the exhibition and to measure its impact.
Uploads
Journal papers by Stuart Frost
Papers by Stuart Frost
the ‘unpalatable’ aspects of cultures from public display. The British Museum’s recent exhibition, Shunga: sex and pleasure in Japanese art reflects significant attitudinal changes, both institutionally and in society at large.
Sexually explicit paintings, prints, and illustrated books known as shunga (‘spring pictures’) were produced in Japan in considerable quantities between 1600-1900. The British Museum’s recent exhibition was one outcome of a five year collaborative research project aimed at furthering
understanding of shunga. The sexually explicit nature of the material posed some unique challenges. In order to explore these issues this paper draws on evaluation undertaken both to inform the development of the exhibition and to measure its impact.
the ‘unpalatable’ aspects of cultures from public display. The British Museum’s recent exhibition, Shunga: sex and pleasure in Japanese art reflects significant attitudinal changes, both institutionally and in society at large.
Sexually explicit paintings, prints, and illustrated books known as shunga (‘spring pictures’) were produced in Japan in considerable quantities between 1600-1900. The British Museum’s recent exhibition was one outcome of a five year collaborative research project aimed at furthering
understanding of shunga. The sexually explicit nature of the material posed some unique challenges. In order to explore these issues this paper draws on evaluation undertaken both to inform the development of the exhibition and to measure its impact.
were one of the target audiences for the exhibition and interpretive strategies needed to cater for those who knew a great deal about Islam as well as those who knew very little. The paper will present key findings from the summative evaluation of the exhibition which demonstrates that the visitor profile to Hajj was markedly different to the other ‘spiritual journey’ exhibitions and suggests that the Museum was successful in catering for different audiences.