Museum 2.0

FEBRUARY 9, 2010

Recently, I was giving a presentation about participatory techniques at an art museum, when a staff member raised her hand and asked, "Did you have to look really hard to find examples from art museums? I was surprised by her question. Aren't art museums less open to participation than other kinds of museums?"

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Museum Difference Participatory History 29

Museum 2.0

SEPTEMBER 26, 2012

Visitors bond and bridge through participatory experiences at MAH. Bridging refers to an inclusive and outward looking form of linking different and diverse individuals and groups together to form new relationships. I learn a ton from her every day and wanted to share her thinking--and her graduate thesis--with you.

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Museum Program Participatory Community 49

Museum 2.0

OCTOBER 2, 2013

In this post, George grapples with the challenges of balancing the care for a museum collection with that of contemporary artists-in-residence who are constantly reinterpreting it. Every Saturday, the curatorial team at Elsewhere , a living museum in downtown Greensboro, NC, reviews the project proposals of its artists-in-residence.

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Artist Museum Proposal Participatory 49

Museum 2.0

OCTOBER 23, 2018

We partnered with foster youth, former foster youth, artists, and community advocates to create an exhibition that used art to spark action on issues facing foster youth. This project wove together many different participatory threads. Short story: we learned a lot. We wrote a toolkit about our process. What did we learn?

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Issue Childhood Community Create 45

Museum 2.0

JULY 23, 2014

The Derby Silk Mill folks have a different tack: they define the Silk Mill as being about making. In the fall of 2013, they launched Re:Make , an ambitious project to redevelop the museum, live, on the floor, with a mix of staff, guest artists, and community members. And it leaves me with just one question. Or silk production.

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Museum Product Participatory Community 53

Museum 2.0

JULY 11, 2012

That's how I felt when artist Ze Frank got in touch to talk about a potential museum exhibition to explore a physical site/substantiation for his current online video project, A Show (s ee minute 2:20, above). He is an authoritative artist of the social web with a slew of accolades and a suite of diverse projects under his belt.

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Museum Participatory Artist History 45

Museum 2.0

MAY 22, 2013

Think about the difference between Pacman and Grand Theft Auto. Negotiation" implies a respectful relationship between institution (or artist) and user. Sometimes the negotiation can be exploited for artistic means. The theater is dark and the artist breaks the fourth wall and asks for conversation. Both games have rules.

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Game Artist Museum Participatory 40

Media Cause

AUGUST 9, 2021

We develop our skills by seeking, absorbing, questioning, adapting, and experimenting, oftentimes bringing diverse influences together to create something that’s unique for our clients’ needs, but with connections to other relevant spaces. As we look to make an impact, how can we invite community members to create with us from the start?

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Design Experiment Nonprofit Collaboration 52

Museum 2.0

NOVEMBER 11, 2008

The Art of Participation provides a retrospective on participatory art as well as presenting opportunities for visitors to engage in contemporary (“now”) works. As the museum's website puts it, "this exhibition examines how artists have engaged members of the public as essential collaborators in the art-making process."

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Participatory Arts Design Museum 20

Museum 2.0

OCTOBER 30, 2013

I talked with Tiffany, and also with Hazel Markus and Alanna Connor, Stanford social psychologists who recently co-authored a pretty fascinating pop-science book about understanding cultural difference. My biggest question for these social psychologists is this: how do we apply their lessons to our work?

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Measure Arts People Museum 47

Museum 2.0

JULY 12, 2011

This is the question I've been toying with this week. We held a free yoga class in the plaza outside the museum and invited artists to come and draw/paint the yoga-doers in motion. For me, Downward Draw provided an unusual opportunity to examine the more casual end of the participatory spectrum. How many people participated?

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Participatory Museum Measure Activities 41

Museum 2.0

FEBRUARY 1, 2012

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? How do you respond to this question?

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Arts Museum Artist Tucson 45

Museum 2.0

MAY 3, 2017

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. The question is not, “what do I want to do?” We develop the ideas. We explore the possible programs.

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Develop Artist Participatory Blended 20

Museum 2.0

AUGUST 9, 2011

She is a fabulous and thoughtful artist. The same day we opened the Creativity Lounge, we opened new exhibitions throughout the building, including a paper collage show in the 3rd floor lobby by local artist Lisa Hochstein. Lisa and I have fundamentally different ideas of what a "good" museum experience is.

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Museum Arts History Columbus 51

Museum 2.0

OCTOBER 1, 2014

They designed a participatory project that delivers a compelling end product for onsite and online visitors… and they learned some unexpected lessons along the way. We invited a cross-section of artists, filmmakers, and advertisers to join us for a think tank. Projects participatory museum storytelling usercontent'

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Museum Story Project Design 43

Museum 2.0

JANUARY 18, 2012

When talking about active audience engagement with friends in the museum field, I often hear one frustrated question: how can we get adults to participate? There are many participatory experiences that appeal primarily to adults, and they are designed distinctly for adults.

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Interaction Design Museum Participatory 47

Beth's Blog: How Nonprofits Can Use Social Media

SEPTEMBER 29, 2015

In some ways, a design lab can be thought of as “participatory research and testing.”. The purpose of the Design Lab was to answer two key questions to gather input for its strategy: How can the Brainerd Foundation and its philanthropic partners accelerate the transition to 21st Century advocacy for grantees?

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Design Strategy Facilitation Advocacy 50

Museum 2.0

AUGUST 14, 2013

We recruited folks and designed software that texted them five times a day for thirty days, asking one question, "Rate your mood 1 (low) to 10 (high)." We ran with it and have since generated data about decision-making, cooperation, competition and negotiation for scientists (and also some artists) to play with.

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Museum Roles Game Participatory 51

Museum 2.0

JULY 17, 2012

It happened because we: partnered with local artists and community organizations whose passion and generosity made it possible for us to create incredible events. At the same time, our programs' success is based on the cross-pollination of professional and amateur collaborators, all of whom bring different needs and expectations to the table.

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Museum History Arts Artist 47

Beth's Blog: How Nonprofits Can Use Social Media

APRIL 23, 2008

The Museum solicited photographs from artists via an open call on their website, Facebook group, Flickr groups, and outreach to Brooklyn-based arts organizations. All evaluations are private; all artists are unnamed. Visitors will be able to see how different subgroups (including art experts) ranked and responded to the art.

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Arts Social Media Examples Artist 74

Museum 2.0

FEBRUARY 25, 2015

to experiment with different kinds of events (time of day, audience, size, type) and get a sense of how we can best program the space in the longterm. The ideal candidate has a good grasp of our local artistic assets in Santa Cruz County, a knack for participatory placemaking, and enthusiasm about putting on a show.

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Public Activities Active Activism 20

Museum 2.0

MAY 9, 2012

Attendees brought up questions about how they can get more involved with financial discussions in their institutions, how we can change the ways we approach fundraising, how we can think about earned income differently. In particular, we had a great group of 15 talking about participatory history experiences on Sunday.

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Reflection Columbus Museum Participatory 43

Museum 2.0

APRIL 16, 2008

Click is an exhibition process in three parts: The Museum solicited photographs from artists via an open call on their website, Facebook group, Flickr groups, and outreach to Brooklyn-based arts organizations. All evaluations are private; all artists are unnamed. They are sensitive to the artists who are being judged.

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Museum Participatory Artist Arts 24

Museum 2.0

MAY 21, 2014

Seeing so many cheerful one-liners in my inbox made me think about how different my work situation is today than the last time I reflected on it in public in 2012, at my one-year anniversary. I''m open to any questions you want to share in the comments. Participatory work can be very labor-intensive. They are still problems.

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Museum Director History Teen 49

Museum 2.0

OCTOBER 13, 2010

Why the Video Contest Worked Video contests are one of the most challenging kinds of participatory projects to pull off. She approached the question "why should I be picked" in a way that was smart, thoughtful, creative, and lovely. In general, I liked videos made by artists, but some got overly poetic. Overall favorite.

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Museum Contest Video Chicago 34

Museum 2.0

JUNE 12, 2012

It was fascinating to see people--across social differences--responding to representations of love in the paintings, images, objects and narratives that were part of the installation. It is multi-disciplinary, incorporates diverse voices from our community, and provides interactive and participatory opportunities for visitor involvement.

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Participatory Museum Blackboard Game 51

Museum 2.0

APRIL 29, 2015

For example, in Santa Cruz there is a huge community of creative people who identify as artists in non-traditional media. That’s why we partner with fire sculptors, knitters, graffiti artists, and bonsai growers. They are artists whose experience deserves a home in our institution alongside painters, photographers, and sculptors.

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Build Community Museum Artist 20

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

Museum 2.0

JULY 9, 2009

That discussion has traditionally focused on visitors' ability to distinguish real artifacts from props and the question of whether an experience with a reproduction is lesser than, equivalent to, or superior to engaging with "the real thing." The participatory element employs an accessible speculative question.

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Museum Alternative Portland Artist 22

Museum 2.0

MAY 3, 2011

They designed a participatory project that delivers a compelling end product for onsite and online visitors… and they made some unexpected decisions along the way. We invited a cross-section of artists, filmmakers, and advertisers to join us for a think tank. How and why did Object Stories come to be? So what did you do next?

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Story Interview Museum Audio 53

Museum 2.0

JUNE 27, 2008

Joe explains some of the planned intentional dialogue events: First, for the opening night dinner, we hired a local dance company that is putting together pieces about visiting museums, punctuated by an actor/dancer asking provocative questions to the group. At each table there will be an envelope with questions inside.

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Studies Associations Houston Museum 20

Museum 2.0

SEPTEMBER 20, 2010

Audience segmentation and research has become a hot topic in museums, especially when it comes to crafting appealing offerings that are customized to different kinds of visitors. First, we realized that our museum is different from other museums, but our benefits and membership structure were the same as others.

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Interview Director Museum Arts 46

Museum 2.0

NOVEMBER 30, 2009

Spontaneous discussions broke out in the gallery on the relative merits of different pictures; visitors of all ages came back again and again to see where their favourite was in the chart that week and to cast another vote – at times they were queuing outside before we opened. Projects participatory museum.

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Museum Chart Picture Arts 23

Museum 2.0

MARCH 22, 2007

In Chapter 3, McCloud identifies six different methods by which comic artists transition from one panel to another (for example, scene-to-scene or action-to-action). Then, he charts the incidence of each of these six for many different major comic empires (i.e. X-Men) and artists. But now, web usage is different.

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Taxonomy Museum Social Wikipedia 20

Museum 2.0

NOVEMBER 7, 2010

I had a healthy second life as a slam poet, and I loved the world of artists and performance. I believe that setting that expectation at the outset made a big difference both in my eventual pay and the responsibilities offered to me. I stayed at both for about 8 months, making about $7/hour by the end.

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Museum Boston Participatory Job 52

Museum 2.0

JUNE 12, 2009

Here’s what happened: an art critic named Jerry Saltz posted an incendiary note on Facebook about the very low representation of women artists on the 4th and 5th floors (painting and sculpture) of MoMA. When those spaces are factored in, there are more than 250 works by female artists on view now. Let’s start there.

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Conversation Museum Artist Minneapolis 21

Museum 2.0

MAY 8, 2013

In the past, I''ve subscribed to the theory that an organization should target many different groups and types of people to serve a constellation of specific audiences across diverse affinities, needs, and interests. At the Santa Cruz Museum of Art & History , we''re approaching this challenge through a different lens: social bridging.

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Museum Social Arts History 55