Museum 2.0

SEPTEMBER 25, 2013

North Carolina Museum of History 1988.39.4 In this courageous guest post, Adrienne Berney, a Collections Care Trainer who works primarily with history museums, gives us an insider’s guide to these issues. are well versed in new ideas for audience engagement and committed to opening up their institutions to increase public access.

Accessibility 44

Accessibility Open Museum North Carolina 44

Museum 2.0

JUNE 12, 2013

Given TCG''s multi-year Audience (R)evolution initiative, I took the opportunity to write a new talk about what revolution has looked like at our small museum in Santa Cruz. Over the past two years, the Santa Cruz Museum of Art & History has undergone a significant transformation of program, audience, and resources.

Museum 55

Museum Learning History Arts 55

Museum 2.0

APRIL 29, 2015

These are the slides and notes for the talk I gave at the American Alliance of Museums conference on Monday, April 27 about the Santa Cruz Museum of Art & History. When I became the director of the Santa Cruz Museum of Art & History four years ago, I took this work with me. We exist for people who live in Santa Cruz County.

Build 20

Build Community Museum Artist 20

Museum 2.0

SEPTEMBER 26, 2012

Writing my masters thesis for Gothenburg University’s International Museum Studies program while also working four days a week as the Director of Community Programs at the Santa Cruz Museum of Art & History this spring was certainly a challenge but also an incredible opportunity.

Museum 49

Museum Program Participatory Community 49

Museum 2.0

SEPTEMBER 7, 2010

For years, I've been fascinated and a bit perplexed by the Elsewhere Collaborative , a thrift store turned artists' studio/living museum in Greensboro, North Carolina. Our archeology did not aim to uncover the hidden voice of my grandmother, but instead to begin an ongoing practice of recreation.

Collaboration 36

Collaboration North Carolina Museum Artist 36

Museum 2.0

DECEMBER 15, 2014

Artists and arts organizations are contributing their spaces and their creative energies. And pop culture icons, from basketball players to rock stars , are making highly visible commentary with their clothes and voices. How do these issues relate to the mission and audience of your museum? Where do museums fit in?

Museum 52

Museum Blogger Cleveland Missouri 52

Museum 2.0

SEPTEMBER 18, 2013

Originally posted in April of 2011, just before I hung up my consulting hat for my current job at the Santa Cruz Museum of Art & History. I''ve spent much of the past three years on the road giving workshops and talks about audience participation in museums. BROAD QUESTIONS ABOUT AUDIENCE PARTICIPATION 1. Yes and no.

Museum 45

Museum Question Participatory Evaluation 45

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. Not your voice.

Teen 20

Teen Museum Voice Collaboration 20

Museum 2.0

APRIL 25, 2011

I've spent much of the past three years on the road giving workshops and talks about audience participation in museums. BROAD QUESTIONS ABOUT AUDIENCE PARTICIPATION 1. Note: the title of this post pays homage to Elaine Heumann Gurian's excellent and quite different 1981 essay of the same title. Yes and no.

Question 49

Question Participatory Museum Evaluation 49

M+R

JANUARY 26, 2023

To make ends meet, artists would sometimes team up as a studio — helping each other come up with ideas, chipping in when someone was in danger of missing a deadline, teaching each other tips and tricks. I’m going to level with you Straight talk and transparency bring the audience inside your circle of trust. <FirstName>,

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email Work Sound Hurricane 110

Have Fun - Do Good

JANUARY 16, 2009

I think about how hesitant I was to become an artist, because I didn't see role models, and even to this day how hard it is for me sometimes to find peers who are women of color, because of how systematically they are pushed out. I'm an artist and an institution builder. The kind of art I do is art that gets engaged into the public.

Artist 40

Artist Digital Arts San Francisco 40

Museum 2.0

MAY 5, 2009

We started with a brief presentation of the basics of each project, and then spent about an hour responding to questions from the audience, using illustrative images and documents to support the discussion. Their use of the web to connect independent artists all over the world was striking and very surprising.

Slides 20

Slides Participatory Museum Children 20

Museum 2.0

MARCH 14, 2011

Without an explicit "I" voice, the museum's perspective on humanity is oblique to say the least. Welcome to Pine Point is a kind of virtual museum exhibition about the town, told from the perspective of Michael Simons, an artist who grew up in the nearby town of Yellowknife and visited Pine Point as a boy.

History 43

History Museum Sound Voice 43

Museum 2.0

JUNE 16, 2020

Each week, I’ve been ceding the blog to others as a chance to hear many voices share their thoughts about our field, where we are, and where we are going. This field is varied, and each voice adds to our collective understanding of the situation. For this week, I’m re-posting Andrea Montiel de Shuman’s Medium post with permission.

Museum 22

Museum Detroit Arts Leadership 22

Beth's Blog: How Nonprofits Can Use Social Media

JANUARY 28, 2013

Lifting my arms and voices to say “I FAILED, NOW LETS MOVE ON.”Led Presentations should cover 5 areas: (a) General overview: goal, history, timing of the failure; (b) What went right? (c) Best moment of #MIForum ?Lifting ”Led by @ kanter. Wendy Hanamura (@WHanamura) January 25, 2013. c) What went wrong? (d)

Learning 115

Learning Impact DC Culture 115

ASU Lodestar Center

JANUARY 17, 2015

I found many parallels between the history and development of the design museum and of the MIM. We discussed the need to position ourselves differently depending on our audience, which ranges from board members to directors to funders and had some great conversations about the challenges and privileges of high-level fundraising roles.

Professional 40

Professional Global Develop France 40

ASU Lodestar Center

JANUARY 7, 2015

I found many parallels between the history and development of the design museum and of the MIM. We discussed the need to position ourselves differently depending on our audience, which ranges from board members to directors to funders and had some great conversations about the challenges and privileges of high-level fundraising roles.

Professional 40

Professional Global Develop France 40

Whole Whale

DECEMBER 9, 2023

Be a curator Make a Twitter list (hidden or not) of influencers like bloggers, journalists, news sites, and partner organizations who may share information that’s useful to your audience. Curate content from underrepresented voices Do you work in a field that works for the rights of a marginalized or underrepresented community?

Social Media 98

Social Media Ideas Media Social 98

Museum 2.0

JULY 31, 2007

Thia is both where the bravery of the NMAI and their lack of responsiveness to the audience comes in. So the direct voice got straight-jacketed into a frame of museum methods that did not exactly fit. When no one voice is regarded as authoritative or objective, how does the story get told? See book club part 4 for more.)

Culture 20

Culture Storytelling Challenge Museum 20

Have Fun - Do Good

JUNE 30, 2007

A blog was really perfect for me, because first of all, it was a very casual voice -- it's not very formal. But it's a much broader audience than just your family. it doesn't have to be completely narrow, but you're going to get more of an audience if it's about a particular issue, rather than just everything. Can I just see?

Podcast 40

Podcast Arts Oakland St. Louis 40