17 Ways We Made our Exhibition Participatory

Museum 2.0

It is multi-disciplinary, incorporates diverse voices from our community, and provides interactive and participatory opportunities for visitor involvement. This post focuses on one aspect of the exhibition: its participatory and interactive elements. We experimented with many different forms of visitor participation throughout the building, trying to balance social and individual, text-based and artistic, cerebral and silly.

Getting in on the Act: New Report on Participatory Arts Engagement

Museum 2.0

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. I've often been asked about examples of participatory practice in theater, dance, and classical music, and this report is a great starting point. It can be easy to conflate engaging activities with participatory opportunities, and I'm glad they were explicit about the difference.


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The World Beach Project: A Creative Contributory Project that Shines

Museum 2.0

The World Beach Project is managed by the Victoria and Albert Museum in London with artist-in-residence Sue Lawty. The artist, Sue Lawty, maintains a blog with her reflections on the project and occasionally celebrates particular contributions, but this blog is fairly contained within the project website and is not a major source of web links. Many museums do not provide participants with clear terms surrounding their submissions, and for savvy people (especially artists!)

Is it OK to Smash That? The Complications of Living Art Museums

Museum 2.0

The man is artist Rocky Lewycky , whose work is part of a group show of visual artists who have won a prestigious regional fellowship. blends sculpture, repetition, and ritual performance in a political statement about the genocide of animals in factory farms. If an artist can come into a museum and smash stuff, what does that tell visitors? If visitors can smash stuff when anointed to do so by an artist, but not otherwise, how do they understand that action?

Advice: An Exhibition about Talking to Strangers

Museum 2.0

Facilitated/Unfacilitated Blend When we started this course, I really pushed the students to think about ways to induce unfacilitated interactions among strangers. Tags: evaluation exhibition design participatory museum usercontent In April, I gave 13 UW graduate students a simple challenge: make an exhibit that gets strangers to talk to each other. 10 weeks, $300, and a whole lot of post-it notes later, they succeeded.

The 5 Best Social Impact Games of 2010


2 Participatory Chinatown In this game, you're transported to Boston's Chinatown to view the development of new areas through the perspective of the varied citizens that make up their corner of the city. In the multi-player version, the power of online discussion blends into the gameplay and the virtual Chinatown becomes an interactive 3D town hall meeting - creating a collaborative environment that would not be possible at a traditional venue. #

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Lead or Follow: Arts Administrators Hash it Out

Museum 2.0

Last week, Douglas McLellan of artsJournal ran a multi-vocal forum on the relationship between arts organizations and audiences, asking: In this age of self expression and information overload, do our artists and arts organizations need to lead more or learn to follow their communities more? If you care about how participatory art experiences can shape civic processes, read Bedoya's post.

Using Social Bridging to Be "For Everyone" in a New Way

Museum 2.0

We''ve seen surprising and powerful results--visitors from different backgrounds getting to know each other, homeless people and museum volunteers working together, artists from different worlds building new collaborative projects. I don''t have the answer to how we can incorporate bridging across the various ways we work with intact and blended communities.

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Think Like a (Real Estate) Developer: Introducing Abbott Square, Part 9

Museum 2.0

Working with creative people taught me to think like an artist: observe, explore, dive in, look out. The “we” isn’t always staff; in most cases, our staff work with community partners in a participatory, co-creative model. FLEXIBLE OPTIMISM + HARD CRITERIA Real estate developers blend optimism and flexibility with clear-eyed assessment of what external conditions make a project go. An artist says: “I’ll explore the world, pull ideas from it, and craft a response.”

Building Community Bridges: A "So What" Behind Social Participation

Museum 2.0

At the adjacent table, my colleague Stacey Garcia was meeting with a local artist, Kyle Lane-McKinley, to talk about an upcoming project. I don't know what formed the bridge between the artists and the teens in this circumstance. For a long time, I knew I cared deeply about designing from "me to we" --inviting visitors to form social connections through participatory experiences--but I couldn't express a clear reason why.