Artist Platform Teen Voice 
Museum 2.0
OCTOBER 15, 2009
Over the past year, I've noticed a strange trend in the calls I receive about upcoming participatory museum projects: the majority of them are being planned for teen audiences. Why are teens over-represented in participatory projects? Teens are a known (and somewhat controllable) entity. The first of these reasons is practical.
Museum 2.0
AUGUST 19, 2015
Here are two examples: Our Youth Programs Manager, Emily Hope Dobkin, wanted to find a way to support teens at the museum. Emily started by honing in on local teens' assets: creativity, activist energy, desire to make a difference, desire to be heard, free time in the afternoon. Not your voice. Subjects to Change was born.
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EveryAction
MARCH 16, 2017
American Edmonia "Wildfire" Lewis is considered the first woman of Native American and African descent to achieve international fame as a sculptor at a time when artists of color were hardly celebrated and slavery was still legal. Gentileschi is remembered, however, as an accomplished Baroque artist whose trials did not define her art.
Museum 2.0
MAY 5, 2009
which followed a very strict formula that frustrated some participants who wanted to be treated like artists, not contributors to a data experiment. But the jury is still out as to whether it's "best" to give users more control as co-designers or embed them into a pre-defined contributory platform. This was particularly true for Click!,
Museum 2.0
FEBRUARY 27, 2013
Why are exhibitions, which have huge potential as immersive, multi-platform narrative devices, so rarely used to that effect? Yes, I know that every platform is different, and that the captive attention we afford to radio, TV, and written material doesn't map perfectly to a free-choice wander through an exhibition. It's unforgettable.
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