Museum 2.0

JUNE 27, 2012

There are still many museums in large tourist centers with a hefty one-time audience. Zoos, aquaria, science and children's museums boast a significant "anytime" audience of families who return again and again. These events don't just increase audience. This isn't true for every museum. It's less about the event than the timing.

Museum 53

Museum Arts Dallas History 53

Museum 2.0

JANUARY 24, 2011

Guard staff who are willing to let an artist step between two panes of glass to perform. The Walker is also a place where everyone is committed to supporting artists and new work, so every time we bring in an artist, staff are enthusiastic about the idea of coming together to create something. It's inherent in what we do.

Arts 46

Arts Interview Teen Artist 46

Museum 2.0

JULY 12, 2010

When I first started exploring the site, I assumed it was mostly a place for charismatic hipsters and a few star artists with enough social media savvy and clever video production capabilities to produce enticing pitches. Why should cultural and arts organizations care about Kickstarter? The museum's page is much simpler.

Fund 49

Fund Museum Pledge Game 49

Museum 2.0

MAY 13, 2015

He is committed to our aspiration of creating a new model of what museums can be in the 21st Century. As museums work to fulfill visitor-focused missions – in our case to inspire wonder, discovery and responsibility for our natural and cultural worlds - we face some ironic paradoxes. Those words haunt me.

Los Angeles 20

Los Angeles Museum History Artist 20

Museum 2.0

AUGUST 19, 2015

The curatorial team or a multidisciplinary team who have the audience in mind when decisions are made about the best way to connect visitors to the collection?" Community First Program Design At the Santa Cruz Museum of Art & History , we've gravitated towards a "community first" program planning model. My answer: neither.

Teen 20

Teen Museum Voice Collaboration 20

Museum 2.0

MAY 9, 2012

I led a session with Eric Siegel and Ellen Rosenthal on museum business models and some of the issues we grapple with in managing money. And I talked about some of the challenges of finding the right income and expense models for a museum that operates more like a community center than a traditional cultural institution.

Reflection 43

Reflection Columbus Museum Participatory 43

Museum 2.0

JULY 1, 2011

But the point is that the MAH, like just about every other museum in the known universe, was content to define the museum experience as something removed from the outside world, a rarefied church-like space of refined artistic reflection. What do we have to do differently?" The first part is saying yes and being open to the community."

Museum 31

Museum History Arts Work 31

Beth's Blog: How Nonprofits Can Use Social Media

OCTOBER 26, 2006

Another point of intersection here for me is Henry Jenkins recently published 72-page white paper " Confronting the Challenges of Participatory Culture: Media Education for the 21st Century." " He describes what Ian observed what happened with his youth audience. Expressions (media creation, mashups, etc). and discovery.

Participatory 50

Participatory Teen Vlog Mashup 50

Museum 2.0

AUGUST 8, 2010

A Community-Based Approach to Collecting and Cataloging CUL is a replicable model for community archives that accepts every piece of print media from a certain area without making quality or importance judgments, going back as far in history as possible. You go online, and that’s why physical culture is at risk.

Chicago 48

Chicago Library Public Culture 48

Museum 2.0

SEPTEMBER 29, 2009

And then there's the Berkeley Ace hardware store, which has a basement lair devoted to model trains. In his identity work , John Falk determined that people use cultural institutions to reflect their personal self-concept as learners, social leaders, spiritual pilgrims, hobbyists, and experience seekers. What's going on here?

Museum 34

Museum Los Angeles San Francisco Model 34

Connection Cafe

SEPTEMBER 24, 2020

As we head into the final months of 2020, some parts of the country are opening up more than others, consumers are itching to get out of their homes, and arts and culture organizations are at a pivotal moment in planning for their comeback. The first is to expect smaller in person audiences. This is because of safety reasons (i.e.

Arts 30

Arts Culture Organization Stream 30

Beth's Blog: How Nonprofits Can Use Social Media

JUNE 27, 2006

" The model of State Department's Cultural Exchanges. We decided to follow our artists and engage the audience on this issues. We're working with most web savvy audience. They think of each other as gamers. These are powerful experiences. Those people come back and have greater depth of understanding.

Game 50

Game International Darfur Sudan 50

Museum 2.0

FEBRUARY 22, 2012

What happens when a formal art museum invites a group of collaborative, participatory artists to be in residence for a year? Will the artists ruin the museum with their plant vacations and coatroom concerts? Will the bureaucracy of the institution drown the artists in red tape? No, this is not a reality TV show.

Artist 39

Artist Museum Project Public 39

Museum 2.0

JULY 1, 2008

Today, both of these models are threatened, and within 50 years they will no longer be sustainable. Why are our current models failing? The popular option at this time is to try to beat the experiential competition and ignore the Web-based cultural shift. Over the last 50 years, public-facing museums and libraries in the U.S.

Museum 20

Museum Library Participatory Wikipedia 20

Museum 2.0

JANUARY 23, 2013

There are more than enough people in the field who are enthused about active participation, and recent reports like the National Committee for Responsive Philanthropy's Fusing Arts, Culture, and Social Change have sparked field-wide conversations about how philanthropy might more equitably support institutions that serve marginalized communities.

Arts 48

Arts Activities Active Activism 48

ASU Lodestar Center

JANUARY 17, 2015

I recently had the opportunity to travel to Paris, France to attend the 5ème conférence de fundraising pour le secteur culturel (5th conference on fundraising for the cultural sector) put on by the Association Française des Fundraisers (French Association of Fundraisers). It was wonderful to again be immersed in French culture and language.

Professional 40

Professional Global Develop France 40

ASU Lodestar Center

JANUARY 7, 2015

posted by Maureen O''Brien Development Director Musical Instrument Museum I recently had the opportunity to travel to Paris, France to attend the 5ème conférence de fundraising pour le secteur culturel (5th conference on fundraising for the cultural sector) put on by the Association Française des Fundraisers (French Association of Fundraisers).

Professional 40

Professional Global Develop France 40

Museum 2.0

JUNE 6, 2011

Simply, I'm shifting my perspective from an exhibit-driven model to an event-driven one. It's not just a party; it's arguably the day of the month when we come the closest to achieving our vision of being a thriving, central gathering place for our community around art, history, ideas and culture. Let me explain. They're social.

Museum 55

Museum Arts History Artist 55

ASU Lodestar Center

NOVEMBER 30, 2011

Redemption Merger: Similar Vision, Differing Models & Audiences. Due to the logistical challenge, they were exploring a video campus model. They ended up going with a model which used separate live speakers at each of their two campuses but which had a single support and administration team. Results of the Mergers.

Phoenix 68

Phoenix San Francisco Model Nonprofit 68

Connection Cafe

MARCH 16, 2015

Many in the arts industry say that the subscription model is dead. Depending on your point of view, these organizations are seen as a last gasp of a dying model, or proof that, despite the arts industry’s best efforts to kill it, subscriptions are still viable. But they are dependent on the loyalty of their audiences.

Arts 20

Arts Model Houston Audience 20

Museum 2.0

MARCH 14, 2011

In 1990, educator and cultural critic Neil Postman described a museum as "an answer to a fundamental question: what does it mean to be a human being?" The first-person narration allows the project to directly address the audience with deep questions without sounding unnatural. Welcome to Pine Point is not a museum project.

History 43

History Museum Sound Voice 43

Bloomerang

NOVEMBER 13, 2021

She’s also certified by the Institute of Cultural Affairs, in the USA, for facilitation. You might do this with news or press releases and radio interviews, you may be looking at the reach and the listening audience to say, “How many people did you engage? So, obviously, going to be a really great presenter for you.

Report 78

Report Measure Impact Process 78

Beth's Blog: How Nonprofits Can Use Social Media

MAY 15, 2008

Almost ten years ago, I used to teach a workshop called " Digital Information Coping Skills " for artists and arts organizations as part of a series of workshop on the theme of how to integrate the Internet into your (arts) organization's mission. Photo by VaxZine. Think Web 1.0

Brain 50

Brain Global Aggregator PowerPoint 50

Museum 2.0

MAY 8, 2009

allows artists and inventors to supply their work directly to users rather than going through time-consuming and copyright-swallowing middlemen. In addition to Tim's arguments, there is the growing cultural expectation that people can purchase atomized content--the single song or application or article of interest. What do you think?

Content 20

Content Ideas Museum Model 20

Museum 2.0

OCTOBER 22, 2008

As part of the session, Tom led live drawing ( click for high-res image ), and we invited the audience to add their own “can’t dos” to a large map of things that are “safe,” “iffy,” and “no way”--more on that later. Focusing on youth audiences can lead to heavy and sometimes inappropriate self-censorship. The audio starts noisy.

Museum 20

Museum Professional Teen Map 20

Beth's Blog: How Nonprofits Can Use Social Media

AUGUST 27, 2009

Chris Anderson’s The Long Tail Note from Beth: In 1993, I worked as the "network weaver" for an online network for individual artists called "Arts Wire" where I facilitated online conversations, provided technology support and training. The envisioned twenty-first-century model, however, is more level. Realist.

Museum 82

Museum Arts Artist Conservancy 82

Museum 2.0

JULY 11, 2008

We’re not accustomed to the idea that they are enfranchised in the cultural process. is an exhibition of photos that were submitted by open call and judged by individuals over the Web in an experiment following the collective intelligence model set forth by James Surowiecki in his book The Wisdom of Crowds.

Museum 20

Museum Artist Photography Arts 20