Museum 2.0

JULY 9, 2009

Seb Chan has a lovely, long interview up at Fresh+New with Helen Whitty about the Powerhouse Museum's new mini-exhibition, the Odditoreum. The Odditoreum is another wrinkle in the study of visitors' understanding and interpretation of authenticity in museums. I enjoyed listening to it (virtually, not at the museum).

Museum 22

Museum Alternative Portland Artist 22

Museum 2.0

MAY 13, 2015

Visitors in front of the African Elephant Diorama at the Natural History Museum of Los Angeles County (NHMLAC photo) This guest post was written by Karen Wise, Vice President, Education and Exhibits at the Natural History Museum of Los Angeles County. “I Familiarity may breed contempt in some contexts, but apparently not in museums.

Los Angeles 20

Los Angeles Museum History Artist 20

Care2

JANUARY 13, 2012

Pinterest has a lot of potential, especially for organizations whose stories lend themselved to visual storytelling. Share the story of each animal in the Pin Description. Pin animated and cartooon bible stories. Pin masterpieces from the budding artists in your arts classes. If you're a museum, zoo, or aquarium: 19.

Ideas 78

Ideas Images Flickr Adopt 78

Have Fun - Do Good

MAY 16, 2012

And it’s a sweet life to have been able to turn service into a supportive business model. Story is incredibly important to me. Learning how to tell a personal story is a powerful tool for healing. Or more accurately, learning that we can tell our own story. Supporting art and artists, writers and books.

Fun 69

Fun Feeds Delicious Blogher 69

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. Short story: we learned a lot. We'd love to see this model evolve and grow. We wrote a toolkit about our process. You can download it for free right now.

Issue 45

Issue Childhood Community Create 45

Museum 2.0

MAY 9, 2012

Last week, I was in Minneapolis for the American Association of Museums annual meeting. Kathleen McLean led a terrific session called "Dangerous Ridiculous" about risk-taking in museums. Interestingly, at my museum, our team is naturally better at ridiculous than we are at dangerous. I found this idea really powerful.

Reflection 43

Reflection Columbus Museum Participatory 43

Museum 2.0

SEPTEMBER 9, 2009

Between high-altitude hijinks, run-ins with wildlife, and very long days of hiking, I finished John Falk's new book, Identity and the Museum Visitor Experience. In other words, if you are a curious person, you will go to museums to learn new things.

Museum 28

Museum Maslow Facilitation Personal 28

Museum 2.0

JULY 20, 2007

I read recently about an awesome project at the San Jose Museum of Art in 2001, Collecting Our Thoughts, in which visitors were invited to write the labels for an art exhibition (more another time). Now construct the story of an artifact: "This painting by Vermeer was completed in 1663. The artist made something funny."

Museum 20

Museum Game San Jose Artist 20

Museum 2.0

MARCH 15, 2010

People often ask me which museums are my favorite. I visit lots of perfectly nice, perfectly forgettable museums. In some cases, that's based on subject matter, as at the Museum of Jurassic Technology or the American Visionary Art Museum. Some are scrappy and iconoclastic, like the City Museum in St.

Support 41

Support Museum St. Louis NSF 41

Museum 2.0

JANUARY 24, 2011

This post features an interview with Sarah Schultz, a museum staffer at one of the institutions Light profiled in the book (the Walker Art Center). Guard staff who are willing to let an artist step between two panes of glass to perform. A crew that has the capacity to build a sign at the last minute. It's inherent in what we do.

Arts 46

Arts Interview Teen Artist 46

Museum 2.0

JULY 1, 2008

Dear Museum 2.0-ers, ers, Next week, I'll be going to DC for a meeting convened by the National Academy of Sciences and the Institute of Museum and Library Services on "Museums and Libraries in the 21st Century." Over the last 50 years, public-facing museums and libraries in the U.S. Why are our current models failing?

Museum 20

Museum Library Participatory Wikipedia 20

Museum 2.0

OCTOBER 12, 2017

A cheerful curly-haired deli owner stands in front of 30 of us and shares a quote he loves: "Artists live in the present and write detailed histories of the future." In the Zingerman's model, visioning is for everyone at all levels of the organization. It's a story written from the vantage point of a few months or years from now.

History 26

History Pennsylvania Michigan Indiana 26

Museum 2.0

NOVEMBER 7, 2010

Last week marked four years for the Museum 2.0 People--especially young folks looking to break into the museum business--often ask me how I got here. This seems like an appropriate time to share the story. Ed Rodley recently wrote a blog post about museum jobs entitled "Getting Hired: It's Who You Know and Who Knows You."

Museum 52

Museum Boston Participatory Job 52

Museum 2.0

JULY 22, 2008

A platform for museum staff to serve as facilitators of safe spaces for difficult conversations? They are often one-offs for events but are increasingly included in the regular slate of programming at major libraries and cultural facilities (but at my count, only one museum). Could this be applied to museums? I think so.

Library 20

Library Model Museum Europe 20

Museum 2.0

AUGUST 19, 2015

One of my favorite comments on the first post in this series came from Lyndall Linaker, an Australian museum worker, who asked: " Who decides what is relevant? 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.

Teen 20

Teen Museum Voice Collaboration 20

Nonprofit Tech for Good

DECEMBER 14, 2022

For example, if you join a modern art museum, there is a good chance you won’t have to pay admission to other modern art museums. This can include the history of the organization, testimonials, ways to access important documents or files held by the nonprofit, stories of impact, personalized swag, and a welcome letter, or more.

Donor 337

Donor Sponsor Accessibility Music 337

Museum 2.0

NOVEMBER 8, 2011

Pages 9 and 10 pull together data from the NEA, the Irvine Foundation, Dance/USA, RAND, and the Knight Foundation to tell a tight, compelling story about the demographic shift from consumptive to active participation and the extent to which traditional arts audiences are also participating in art-making outside of traditional arenas.

Participatory 50

Participatory Arts Report Case Study 50

Have Fun - Do Good

NOVEMBER 20, 2005

SFGate had a story yesterday about the Purpose Prize. Right now he is the Executive Director of the Museum of New Mexico Foundation in Santa Fe. Not only does the Market give folk art collector folks an opportunity to see and buy work from all over the world, the coolest thing is what it means for the artists.

San Francisco 40

San Francisco Bangladesh New Mexico Artist 40

Museum 2.0

OCTOBER 29, 2010

What should we do with their post-its and stories and drawings and poems? To construct the video, artist Chris Milk assembled images and footage of Johnny Cash in a sequence along with the song. The video is a cohesive, beautiful story, and it's obvious to any user how her frame might be integrated into the whole.

Participatory 48

Participatory Music Project Video 48

Museum 2.0

FEBRUARY 7, 2008

I met one of these data artists last year while visiting a friend/journalist at the New York Times. Moveable Type, like its predecessor, Listening Post (now touring international art and science museums), is an exercise in harnessing and repackaging data as art. Sure, a lot of artists can express those kinds of intentions.

Design 20

Design Data Artist New York 20

Museum 2.0

MAY 19, 2010

How, he asked, could a large museum that serves hundreds of thousands of people per year foster the same sense of personal connection and community that a small one can achieve? I think small museums are generally better than large ones at fostering local communities of visitors and members.

Community 21

Community Museum Participatory Relationship 21

Museum 2.0

APRIL 1, 2007

Recently, I’ve become a little disheartened by the extent to which the web has dominated my—and others’—thinking about ways that museums can integrate 2.0 But today I had an experience that reinvigorated my love for and belief in tangible projects that can fill museums with content that is user-generated, shared, and explored.

Generation 30

Generation Content Lesson Museum 30

Museum 2.0

MAY 4, 2007

If anyone out there is considering creating an industry catch-all site for museum-related content, I highly recommend Gamasutra as a model. Can museums afford to indulge in this kind of fantasy? The unifying story is espionage, and the game-like question: “Do you have what it takes to be a spy?”

Game 20

Game Storytelling Lesson Museum 20

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.

Artist 40

Artist Digital Arts San Francisco 40

Museum 2.0

MARCH 14, 2011

In 1990, educator and cultural critic Neil Postman described a museum as "an answer to a fundamental question: what does it mean to be a human being?" Without an explicit "I" voice, the museum's perspective on humanity is oblique to say the least. Welcome to Pine Point is not a museum project. It tells layered personal stories.

History 43

History Museum Sound Voice 43

Museum 2.0

OCTOBER 16, 2013

When you count attendance to your museum, do you include: people who eat in the cafe? Louis Post-Dispatch published the kind of "how sausage is made" story that rarely gets written about the arts. Louis Post-Dispatch published the kind of "how sausage is made" story that rarely gets written about the arts. volunteers?

St. Louis 55

St. Louis Impact Museum Denver 55

Beth's Blog: How Nonprofits Can Use Social Media

MAY 20, 2015

His first ABC was “Always be Charging” – imagine the stories we will tell our grandchildren about sitting in airports near the plugs to recharge our phones. Artists have been using the right tool at the right time to make art. .” ABC, always be capturing.

Digital 50

Digital Learning Artist Miami 50

Beth's Blog: How Nonprofits Can Use Social Media

AUGUST 12, 2009

They're investigating how short, 140-character contributions can build upon each other to create a non-linear narrative – like a Choose Your Own Adventure story or a game of Consequences. The story is line is being summarized regularly on the blog. Just tweet your line of the story to @youropera. Pick the Right Model.

Analysis 88

Analysis Music San Francisco Mashup 88

Beth's Blog: How Nonprofits Can Use Social Media

DECEMBER 16, 2010

There are four different models of crowdsourcing activities: wisdom, creation, voting, and funding. There’s isn’t one best way to do it – and many organizations use a combination of these models to meet their objectives. Brooklyn Museum implemented a crowdsourced photography exhibit experiment called “ Click!

Measure 96

Measure Fund Impact Minnesota 96

Museum 2.0

OCTOBER 22, 2008

There are lots of things visitors can’t do in museums. But what about the things that museum professionals can’t (or feel they can’t) do? This week at the ASTC conference, Kathy McLean, Tom Rockwell, Eric Siegel and I presented a session called “You Can’t Do That in Museums!” And so my question is, why are we keeping them away?

Museum 20

Museum Professional Teen Map 20

Museum 2.0

MAY 27, 2008

How is a museum like a radio station? It’s called Pandora , and its successes reveal interesting lessons about aggregating museum content. You enter a seed artist or song (or several) and Pandora starts playing music that it interprets as related in some way to your selections. Pandora is a model for an alternative.

Collaboration 20

Collaboration Music Museum Articulate 20

Museum 2.0

NOVEMBER 6, 2007

Contributing personal experience is less about discussion and more about gifts --gifts our visitors give to us in the form of their stories and observations. The "view, then record, then review" model is not surprising, but there are other elements here that are. The visitors adopted the content and empowered the museum to go further.

Voice 20

Voice Museum Vietnam Music 20

Beth's Blog: How Nonprofits Can Use Social Media

AUGUST 27, 2009

Chris Anderson’s The Long Tail Note from Beth: In 1993, I worked as the "network weaver" for an online network for individual artists called "Arts Wire" where I facilitated online conversations, provided technology support and training. In the last few years, the Smithsonian American Art Museum. Museums are changing.

Museum 82

Museum Arts Artist Conservancy 82

Museum 2.0

SEPTEMBER 15, 2009

There are lots of museums (and organizations of all kinds) looking for ways to inspire users and visitors to produce their own content and share it with the institution online. The World Beach Project is managed by the Victoria and Albert Museum in London with artist-in-residence Sue Lawty. It's not marketing hype.

Project 38

Project Museum Artist Map 38

Museum 2.0

JULY 11, 2008

No, these are neither the words of a self-important curator nor a well-spoken museum director. the crowd-curated photo exhibition now open at the Brooklyn Museum of Art. It is a substantive research contribution by the museum to the social technology field at large. And that’s a really interesting element of this whole story.

Museum 20

Museum Artist Photography Arts 20

Museum 2.0

JANUARY 4, 2012

Last week, I finally watched The Art of the Steal , an arresting documentary on the controversy around the evolution of the Barnes Foundation from a suburban educational art facility to a major urban art museum (to open in May 2012). Unlike most art collections, Barnes' art was neither exclusively private nor a public museum.

Arts 53

Arts Accessibility Foundation Philadelphia 53