Museum 2.0

APRIL 26, 2018

The Washington Post covered the MAH's transformation as part of an article about museums engaging new audiences. The whole second half of the article was dedicated to our work: Smaller museums can be especially scrappy in finding ways to connect with the community.

Washington 49

Washington Audience Museum Intergenerational 49

Museum 2.0

MARCH 20, 2013

This week, the Santa Cruz Weekly's cover story is about my museum (the Santa Cruz Museum of Art & History ) and the work we have done to make it a more participatory, community-centered place over the past two years. Let me know what you think of the article either here or on the Weekly's site.

Story 31

Story Georgia Participatory Museum 31

Museum 2.0

JULY 1, 2011

I've now been the Director of The Museum of Art & History in Santa Cruz for two months. Yesterday, a lovely article came out in the local paper about what we're trying to do to become a thriving community hub. Lots more on this in the months to come, but I thought you might like to read the article.

Museum 31

Museum History Arts Work 31

Museum 2.0

DECEMBER 26, 2012

This article sparked some interesting discussion online with colleagues from natural history museums, which deal with damage and touching very differently than art institutions do. How should (and do) we treat them? We're working at my museum on a strategic approach to our educational outreach with K12 classes and students.

Denver 33

Denver Museum Arts Participatory 33

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." It was even more useful to learn how participatory writing visions can be. A vision is a detailed history of the future. WHAT IS A VISION? Write it that way.

Pennsylvania 26

Pennsylvania History Michigan Indiana 26

Museum 2.0

JULY 24, 2012

When we talk about making museums or performing arts organizations more participatory and dynamic, those changes are often seen as threatening to the traditional arts experience. What if historic arts experiences were actually a lot more participatory? But what if the "traditional" arts experiences is a myth?

Greece 51

Greece Arts Industry Participatory 51