Beth's Blog: How Nonprofits Can Use Social Media

SEPTEMBER 16, 2010

Three Models. The program book and other print materials will be distributed at the event to make people away of the builders. They are encouraging audience to ask them questions and engage with them during the performances and events. Danielle also did some training and prepared some “cheat sheets&# for the volunteers to use. .

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Social Media Work Media Social 95

Have Fun - Do Good

OCTOBER 10, 2012

I believe that new models of aging and senior life will emerge from this wave, and can't wait to see what is created, which is why I loved stumbling upon The New York Times article, For Healthy Aging, A Late Act in the Footlights. The NOHO Senior Arts Colony and the Long Beach Senior Arts Colony will open in 2012.

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Arts Long Beach New York Artist 53

Beth's Blog: How Nonprofits Can Use Social Media

MARCH 24, 2020

My first remote job was to work with a virtual team to manage an online network for artists, called Artswire. As the facilitator you can model it with brevity – it should be no more than 30 seconds. I’ve been working in my pajamas since the early 1990s, during the early years of the Web.

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Beth's Blog: How Nonprofits Can Use Social Media

AUGUST 17, 2010

Kanter will bring together a group of highly visible free agents working on important social change causes and representatives from different nonprofits for a lively discussion with the audience. There are over 200,000 professional artists in the US — and a bunch of them have problems the techies could help solve. Trust me.

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Comment Artist Social Media Hype 97

Museum 2.0

JULY 26, 2010

I'm fascinated by these places because of their ability to attract diverse audiences to idiosyncratic experiences, and I'm curious how they stay afloat. From a museum perspective, I think there's a lot to learn from these venues' business models, approach to collecting and exhibiting work, and connection with their audiences.

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Culture Alternative St. Louis Los Angeles 49

Beth's Blog: How Nonprofits Can Use Social Media

SEPTEMBER 28, 2011

About a year ago, I came across David Sibbet’s book, “ Visual Meetings ” I have known of his work for years, but always thought graphic recording was for “real artists who can draw.’ Rachel, a virtuoso technologist and artist, used a drawing tablet and Sketchbook pro.

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Facilitation Technique San Francisco Storyboard 107

Museum 2.0

NOVEMBER 8, 2011

Last month, the Irvine Foundation put out a new report, Getting In On the Act , about participatory arts practice and new frameworks for audience engagement. How did the authors come up with the intriguing blend of curatorial, interpretative, and inventive opportunities shown in the Audience Involvement Spectrum's Venn diagrams?

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Participatory Arts Report Case Study 50

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. Over the past seven years, this exploration has been undertaken by a staff of artists and more than 35 creators each year participating in our residency program.

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Collaboration North Carolina Museum Artist 36

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. More audience.

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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.

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Arts Interview Teen Artist 46

Forum One

OCTOBER 12, 2010

But, I’m optimistic – I am seeing good models of this today which can be applied by foundations in their work. Use competitions and contests to generate new ideas from new audiences. Predictive Markets: The Iowa Electronic Markets uses an online wagering model to accurately predict political elections.

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Reflection Conference Communication Network 47

Museum 2.0

NOVEMBER 23, 2011

An exhibiting artist approached me recently at an evening event at the museum. Imagine if a theater or jazz club was only open during the day, and what conclusions one might draw about audience type and preferences based on that decision. Who would be "core" audiences if our institutions were open from 3-9pm instead of closing at 5?

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Museum Open Artist Audience 55

Beth's Blog: How Nonprofits Can Use Social Media

SEPTEMBER 1, 2009

Ann Wizer is an artist who uses design and education to protect the environment and reduce poverty. Ann is an activist and an artist. This was followed by a panel discussion and questions from the audience. I also interviewed Shara Karasic who was in the audience. It is the trash from the buildings. They don't.

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Social Kiva Artist Sample 88

Care2

JANUARY 13, 2012

Here's a site that already has the audience everyone wants: women and moms who make most of the household buying decisions.” Pin masterpieces from the budding artists in your arts classes. Build a Board of images modeling healthy food choices. Pinterest Guidelines. Pin your students science fair projects.

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Ideas Images Flickr Adopt 78

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.

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Museum Arts Dallas History 53

Beth's Blog: How Nonprofits Can Use Social Media

AUGUST 1, 2009

Here are the three most basic: 1) Who's the audience ? In the two frameworks I've been co-creating, Transmedia Activism Modeling Global Change, we've based the frameworks on the core value of putting the social change issue first. It's important to build your platforms to both create and demonstrate impact.

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Culture Build Change Media 84

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. They are incredibly detailed depictions of scientifically and visually accurate moments in time and place with backdrop murals made accomplished artists – including some famous Plein Air artists who created them as part of W.P.A.

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Los Angeles Museum History Artist 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.

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Reflection Columbus Museum Participatory 43

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.

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Teen Museum Voice Collaboration 20

Museum 2.0

MARCH 15, 2010

These institutions have three additional reasons for homogeneity: The audience cycles frequently as families "age out." Institutions may feel less of a need to offer something unusual or distinctive if the audience will keep refreshing every few years. They may employ local artists to help create visitor experiences.

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Support Museum St. Louis NSF 41

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. They are tapping into a large audience of people who don't care whether their donations are tax-deductible or not.

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Fund Museum Pledge Game 49

Museum 2.0

OCTOBER 1, 2014

And we realized of course that the majority audience would be watchers, not storytellers. We invited a cross-section of artists, filmmakers, and advertisers to join us for a think tank. We have four stories up now: from a guard, a curator, a longtime museum lover, and an artist. The website for the stories is beautiful.

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Museum Story Project Design 43

Museum 2.0

SEPTEMBER 29, 2009

And then there's the Berkeley Ace hardware store, which has a basement lair devoted to model trains. Secrecy operates on a scarcity model; if everyone knows about it, it's not as appealing. A woman gushed about Wild Side West's hidden backyard garden area, which includes eclectic statues and cozy corners to curl into.

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Museum Los Angeles San Francisco Model 34

Nonprofit Tech for Good

DECEMBER 14, 2022

Audience size, breadth, and depth: If your organization has big lists, lots of traffic to your website or blog or social media pages, or big crowds at events, there are many ways to turn this into a donor benefit. Sometimes a nonprofit has access to world-class chefs, celebrities, artists, or architects or well-known lawmakers.

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Donor Sponsor Accessibility Music 345

Whole Whale

MARCH 28, 2023

It exists in the algorithms that govern your Facebook timeline, explains why YouTube always recommends the perfect video, or more recently, powers the Large Language Models (LLMs) like OpenAI’s Chat-GPT , Google’s Bard , or Bing’s AI Chatbot , and others that have made headlines. Chat-GPT is a generative large language model.

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FAQ Language Model Nonprofit 52

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.

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Artist Museum Project Public 39

Neon CRM

OCTOBER 13, 2023

You can either use a pay-to-enter model or turn it into a bit more of a gamble, where participants get a basket of eggs that may or may not contain a valuable prize. Tap your network to see what kinds of artists and craftspeople are out there and are available to teach. Of course, these events don’t have to be just for kids.

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Ideas Fundraising Movie Classes 98

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?" she said. That doesn't entail a big, expensive redesign.

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Museum History Arts Work 31

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.

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Game International Darfur Sudan 50

Museum 2.0

MAY 3, 2011

And we realized of course that the majority audience would be watchers, not storytellers. We invited a cross-section of artists, filmmakers, and advertisers to join us for a think tank. We have four stories up now: from a guard, a curator, a longtime museum lover, and an artist. The website for the stories is beautiful.

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Story Interview Museum Audio 53

Beth's Blog: How Nonprofits Can Use Social Media

OCTOBER 26, 2006

" He describes what Ian observed what happened with his youth audience. the ability to interpret and construct dynamic models of real-world. Some notes from the white paper, I'm still digesting it (not being a digital native, I had to print it out). s surroundings as a form of problem-solving. Performance ??? and discovery.

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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. Our new catalog and website will be up within the next two months.

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Chicago Library Public Culture 48

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. Everyone is entitled to art in their life.

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Artist Digital Arts San Francisco 40

Museum 2.0

MAY 25, 2010

Not only would it improve the students’ relationship with the museum, it would attract other non-student visitors; anyone who has created artwork in public knows that people absolutely love to see artists at work. We artists and designers love our cheese-cube-and-wine-fueled Gallery Nights and those should stay.

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Museum Rhode Island University Student 37

Museum 2.0

APRIL 23, 2009

Like many people who've worked in science centers and interactive experience museums, I've always been perplexed by the fact that hands-on workshop audiences top out around age 14. Most hackerspaces have very transparent legal structures and operate on a consensus model. This isn't just a geek thing. and then there are some challenges.

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Museum North Carolina San Francisco Structure 24

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 good news is that there are hundreds of thousands of people debating the content of every book, scientific principle, and artistic movement on the Web right now. From the Web 2.0

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Museum Library Participatory Wikipedia 20

Museum 2.0

AUGUST 29, 2007

And while there's lots of good stuff in these sections (including an introduction for me to some wild net artists ), it's the last chunk that interests me most, where Karen explores the question of how and where Internet art should be exhibited. may be best suited to a web-only environment, where visitors can surf unrestrained. Sepagration.

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