Museum 2.0

AUGUST 20, 2009

I'm working on a section of my book about sharing social objects and am writing about the most common way that visitors share their object experiences in museums: through photographs. Revenue Streams: Museums want to maintain control of sales of "officially sanctioned" images of objects via catalogues and postcards.

Museum 54

Museum Photo Policy Open 54

Museum 2.0

JUNE 12, 2013

TCG is the industry association for non-profit theaters, the way AAM is for museums. Given TCG''s multi-year Audience (R)evolution initiative, I took the opportunity to write a new talk about what revolution has looked like at our small museum in Santa Cruz. At the same time, our community relevance was limited.

Museum 55

Museum Learning History Arts 55

Museum 2.0

MAY 31, 2011

Last week, at the annual meeting of the American Association of Museums in Houston, I was honored to chair a fabulous panel on empowering museum staff to take creative risks ( slides here ). Beck beautifully described her entry into museum work. What kind of support do you need to be confident about taking a risk in your work?

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Denver Museum Oakland PowerPoint 55

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.

Teen 20

Teen Museum Voice Collaboration 20

Museum 2.0

JANUARY 16, 2013

It's not every day that a visitor buys pizza for everyone in the museum. Then again, Saturday was hardly normal at the Santa Cruz Museum of Art & History. Participants who felt more confident modeled generous behavior and engaged others. The museum itself was well-integrated into the event.

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Reflection Community Museum Participatory 43

Museum 2.0

NOVEMBER 13, 2007

This week, a look at the third section of Visitor Voices , the excellent book coedited by Kathy McLean and Wendy Pollock. Who controls the content in the museum? Who controls the museum experience? First, museum content. Several of the projects profiled allowed visitors a hand in creating museum content.

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Voice Create Museum Arts 20

Museum 2.0

APRIL 11, 2017

This is the sixth in a series of posts on the Santa Cruz Museum of Art & History ( MAH )'s development of Abbott Square , a new creative community plaza in downtown Santa Cruz. John would run Abbott Square Market , a multi-vendor food and drink business, adjacent to the plaza, adjacent to the museum. Money is on the table.

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Technique Museum Exercise Structure 29

Museum 2.0

MARCH 25, 2015

This is the first in a two-part series about the Santa Cruz Museum of Art & History’s new theory of change. This week, Ian David Moss and I are each writing blog posts about our collaborative process to develop a theory of change at the Santa Cruz Museum of Art & History. We had tripled our attendance.

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Process Change Develop Museum 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

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. Ed Rodley recently wrote a blog post about museum jobs entitled "Getting Hired: It's Who You Know and Who Knows You." hour at the Museum. I made $26/hour at NASA and $7.25/hour

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Museum Boston Participatory Job 52

Museum 2.0

SEPTEMBER 22, 2009

In this report, the authors describe three specific models for public participation: contribution, collaboration, and co-creation. In the collaborative model, visitors are invited to serve as active partners in the creation of an institutional project which is originated and ultimately controlled by the institution.

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Public Research Participatory Report 36

Museum 2.0

APRIL 7, 2009

Which of these descriptions exemplifies participatory museum practice? Museum invites community members to participate in the development and creation of an exhibit. Museum staff create an exhibit by a traditional internal design process, but the exhibit, once open, invites visitors to contribute their own stories and participation.

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Participatory Design Difference Museum 27

Museum 2.0

DECEMBER 5, 2008

Cultural Connections is a group of museum professionals who meet up a few times a year and host excellent programs on a variety of topics. This week, they hosted "Let Them Be Heard: Visitor Participation in the Museum Experience," featuring four presentations on incorporating visitors' content into museums. Here's what they did.

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Case Study Participatory Studies Museum 20

Museum 2.0

AUGUST 21, 2008

In this post, an exploration of ways that museums can support promoters, convert detractors, and generally energize visitors to share their experience with others. Supporting Promoters Somewhere out there, there are people who love your museum. Ratings and Reviews Imagine a visitor who leaves your museum enthused about her experience.

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Museum Review Rate Voice 20

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.

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Generation Content Lesson Museum 30

Museum 2.0

JULY 27, 2009

I’ve long admired Improv Everywhere , the NYC-based participatory public art group. For about half an hour, hundreds of people play together, silently, as directed by disembodied voices inside their headphones. The voice tells you what to do –stand up, shake hands, play Twister, make silly shapes—and you do it.

Instruction 21

Instruction Instructional Nicaragua Experiment 21

Museum 2.0

JUNE 6, 2008

On June 4, we opened The Tech Virtual Test Zone , a new 2000 sq ft gallery at The Tech Museum of Innovation featuring exhibits on the theme of art, film, and music that were originally developed in Second Life by a community of creative amateurs. Some museum pros have been puzzled by this. than by talking in suppositions.

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Virtual Tech Lesson Develop 21

Museum 2.0

OCTOBER 21, 2007

No one would contest the idea that most museum exhibitions, art shows, films, books, in short, most content experiences, have value both for the new and return user. We’ll spend the least time here, since these are the people who are presumably being served well by the co-creation models at hand. First, the newcomer.

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Experiment Create Museum Amazon 20

Museum 2.0

NOVEMBER 5, 2014

Two weeks ago, my museum was featured in a Wall Street Journal article by Ellen Gamerman, Everybody''s a Curator. I''m thrilled that our small community museum is on the map with many big institutions around the country. I''m glad to see coverage about art museums involving visitors in exhibitions. It''s not cheap.

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Journal Participatory Museum Community 54

ASU Lodestar Center

JANUARY 17, 2015

posted by Maureen O'Brien Development Director Musical Instrument Museum. I was able to participate thanks in part to professional development grants from Arizona Commission on the Arts and Sigma Alpha Iota. In Europe, the government has traditionally been the primary supporter of culture, a model very different to ours in the US.

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Professional Global Develop France 40

ASU Lodestar Center

JANUARY 7, 2015

posted by Maureen O''Brien Development Director Musical Instrument Museum I recently had the opportunity to travel to Paris, France to attend the 5ème conférence de fundraising pour le secteur culturel (5th conference on fundraising for the cultural sector) put on by the Association Française des Fundraisers (French Association of Fundraisers).

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Professional Global Develop France 40

Museum 2.0

MAY 15, 2008

Radiolab does what I hope all great museum exhibitions can do--take a deep topic and make it compelling on many levels. But we're trying to model a kind of conversation with important people, powerful people, but particularly knowledgeable people, where we say--YOU can go up to a person with a lot of knowledge and ask him "why?

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Conversation Arts Museum Voice 20

Museum 2.0

OCTOBER 8, 2008

I have a lot of conversations with people that go like this: Other person: "So, you think that museums should let visitors control the museum experience?" Other person: "But doesn't that erode museums' authority?" If the museum isn't in control, how can it thrive? It lets you be the only expert with a voice.

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Authoring Platform Museum YouTube 42

Museum 2.0

JUNE 2, 2010

This year, the American Association of Museums annual conference was in Los Angeles (my hometown). I hosted two sessions, one on design for participation and the other on mission-driven museum technology development. He started with museums as a "place to go"--to see things, consume experiences. In this case, a heck of a lot.

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Slides Museum Los Angeles San Jose 22

Have Fun - Do Good

JANUARY 16, 2009

"I think about how many times I didn't like the color of my skin, because I didn't see myself in any art. 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.

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Artist Digital Arts San Francisco 40

Museum 2.0

JANUARY 15, 2007

The exhibition is varied, lively, and the art is of high quality. It feels like a vibrant art show. They modeled the competition after the British NPG’s well-established competition. They received over 4,000 submissions from all 50 states, which were judged by a panel of seven—including museum staff and outside artists.

Artist 20

Artist Museum Childhood Arts 20

Museum 2.0

JUNE 18, 2007

Live facilitation has a varied role in museums. In children’s and science museums, explainers are everywhere. From a financial and management perspective, however, many museums try to minimize live facilitation as much as possible. Many peoples’ most memorable museum experiences come from interactions with staff.

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Facilitation Museum Interaction Denver 20

Museum 2.0

AUGUST 6, 2019

Dear friends, This is my last post as the author of Museum 2.0. I'm thrilled that Seema Rao is taking this blog and museum community into its next chapter. You can find all my archived Museum 2.0 Today, I want to share a bit about what Museum 2.0 When I think of Museum 2.0, I started the Museum 2.0

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Museum Reflection Participatory Attitude 27

Museum 2.0

FEBRUARY 24, 2011

I was talking this week with Mark Allen, the founder of Machine Project (an alternative arts space in LA), about different models for community engagement in cultural institutions. For example, consider two independent arts organizations in Los Angeles -- Machine Project and The Public School.

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Voice Los Angeles Denver Museum 42

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.

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Museum Arts Artist Conservancy 82

Museum 2.0

JUNE 29, 2010

You can join the conversation in the blog comments and add your own voice to the debate. We share an abiding interest in exploring the community-enhancing roles of libraries, archives, and museums (LAMs), especially in terms of the practice of hospitality and service within the institution. In the 1930s, W.E. Alternatives?

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Place Discussion Library Museum 30

Museum 2.0

MARCH 6, 2019

This week, I've had multiple conversations with colleagues in the arts, symphonies, and urban planning about the fear professionals have about "losing control" when opening up new opportunities for people to participate. Other person: "But doesn't that erode museums' authority?" If the museum isn't in control, how can it thrive?

Authoring 44

Authoring Share Museum YouTube 44

Museum 2.0

APRIL 19, 2010

"How often do we hear colleagues from museums and galleries stating as their fundamental reason for working co-creatively with audiences that they want to make a great piece of museum work, rather than primarily for reasons of social inclusion or democracy?" was the most overwhelming answer.

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Arts Participatory Museum Artist 22