See3
JANUARY 25, 2007
It was designed by a New York artist named Cindy Workman. Cindy is having an art show, and if you are in New York, you should take a look. Recent Posts 5 Questions to Evaluate Your Nonprofit Video ROI Enter the 2010 Tagline Awards Today! We love our See3 logo. Case Soup: Nonprofit Video Secrets Revealed!
Bloomerang
FEBRUARY 21, 2024
Concert tickets Buying concert tickets has become like a competitive sport, as passionate fans flood ticket platforms to see their favorite artist live. For example, if your town is known for gorgeous cherry blossom trees, offering paintings with these trees by a local artist can inspire bidding.
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Beth's Blog: How Nonprofits Can Use Social Media
JANUARY 21, 2010
I've been involved with teaching and learning technology for nonprofits since 1993 when I worked for the New York Foundation for the Arts' online network for artists, Arts Wire. Introduction to six different social media tools and techniques for a planning, delivering, and evaluating a training session.
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. On the web, anyone can evaluate the photographs in terms of aesthetic quality and relevance to the exhibition theme. All evaluations are private; all artists are unnamed.
Beth's Blog: How Nonprofits Can Use Social Media
FEBRUARY 2, 2006
4 jobs I had: General Manager of the Pro Art Chamber Orchestra Management/Capacity Assessment Evaluator for the National Endowment for the Arts Challenge Grants Day of Service Consultant for N-TEN Community Builder/Network Coordinator for Artswire, an online network for artists and project of the New York Foundation for the Arts.
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.
Museum 2.0
JULY 11, 2008
As James comments in the attached podcast (scroll down), Shelley’s team did something that he thought was “too hard” to do in his work—tackle the effect of crowds on the subjective question of art evaluation. I asked Shelley if she received any negative feedback from the artists about their work being treated like data rather than art.
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