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Before the session, I spent some time reviewing Museum Facebook Pages – luckily the MIDEA project has them organized into this handy list. I had hoped to find a good example of a museum or an arts organization with a custom landing tab. Aliza Sherman's "Birth of A Superfan" as it applies to Facebook and Museums.
Last week, I sat down on a toilet in our museum and found myself looking at an interactive station intended to test a “Legends of the Stall” sign concept for the restrooms. Some of my happiest moments as a director come when I encounter awesome things in our museum that I had absolutely nothing to do with. Sorry for the delay.
This August/September, I am "rerunning" popular Museum 2.0 Diane is both visionary and no-nonsense about deconstructing the barriers that many low-income and non-white teenagers and families face when entering a museum. Most large American museums are reflections of white culture. blog posts from the past.
As an educated, well cultured and traveled individual with an amazing life story, her empathy and passion allows her to tell amazing stories and inspire hearts to give. Jude, Make A Wish, American Cancer Society, and The Museum of African American History.
What happens when a formal art museum invites a group of collaborative, participatory artists to be in residence for a year? Will the artists ruin the museum with their plant vacations and coatroom concerts? But for museum and art wonks, it could be. Will the bureaucracy of the institution drown the artists in red tape?
At the Santa Cruz Museum of Art & History (MAH), we've started experimenting with a "community first" approach to program development. We asked the whole group to brainstorm communities/constituencies who they thought could make a stronger connection with art, history, and culture. Six goals for MAH community programs.
Diane is both visionary and no-nonsense about deconstructing the barriers that many low-income and non-white teenagers and families face when entering a museum. Most large American museums are reflections of white culture. Guards staring at black teens and grumbling about their clothes. Why can't new visitors do the same?
How many times have you heard this phrase in the context of cultural institutions? It''s presumptuous to suggest that we know what people "need" in a cultural context. Very, very few museum visitors are in the "dog and baby" category. I don''t hear this phrase accompanied by evidence-based articulation of "needs" of audiences.
When talking about active audience engagement with friends in the museum field, I often hear one frustrated question: how can we get adults to participate? In children's museums and science centers, this relationship is at its most extreme. And yet in the museum world, we still see interactives as being mostly for kids.
Residents in the three counties that pay the millage will receive special benefits : free admission to the museum and expanded educational programming. But the arguments trotted out represent how far we have to go in articulating the public value of arts institutions (and helping our supporters speak the same language). Rebuttal: none.
Christy Crosser from Estes Park Museum Friends & Foundation, Inc. Greg Wilken from Nonprofit HR Collaborative Closed culture that stifles innovation Resisting change or trying new ideas discourages new board and employee innovation and nonprofit growth. This is based on my 30+ year of doing something with nonprofits.
OFBYFOR ALL is a framework to help civic and cultural organizations become OF, BY, and FOR their communities. We're launching it with partners at community-based libraries, parks, museums, and cultural centers around the world. We turned a struggling museum into a thriving community center that is of, by, and for our county.
By clearly articulating your membership tiers and benefits across multiple marketing channels, you can connect with potential new members who would be a good fit for your program. Cultivate impactful relationships to increase retention. transaction fee. Pricing Pricing is not available online; contact Doubleknot for more information.
This week''s guest post is written by Julie Bowen, VP of Experience and Engagement at the Canadian Museum of Nature in Ottawa. Years ago, I was running a workshop at a conference introducing a creativity technique to museum professionals. But it would never work in my museum because my boss would never go for it.”
The following post was originally published on the Center for the Future of Museums blog. On Wednesday, August 8, over 300 museum professionals joined CFM director Elizabeth Merritt and Seema Rao, principal of Brilliant Idea Studio , to explore self-care in the museum workplace. But effort and efficacy are not the same.
The other sort are organizations that exist to serve a broad social or cultural goal. Museums and cultural organization tend to be organizations of this sort; many advocacy and political groups also structure themselves in this way. . $25-$50 Membership here is a way to package fundraising.
For the past five years, each summer, the Santa Cruz Museum of Art & History has hosted MuseumCamp. Come to this two-day bootcamp to: Articulate your goals for community participation at your organization. And it's not just for museum people. We welcome campers from diverse community, civic, and cultural sites.
One of the most powerful books I read while doing research was We are Coming Home: Repatriation and the Restoration of Blackfoot Cultural Confidence ( read it free here , great appreciation to Bob Janes for sharing it with us). The Blackfoot mostly live in what is now the province of Alberta, where the Glenbow Museum resides.
I've written about different structures for participatory processes (especially in museums), and recently, I've been interested in how we can apply these structures to the design of public space. The key here is symbolic versus actual engagement and involvement.
Audiences are a portion of the humans in the museum ecosystem. The reason I think of a museum as human-centered is that to become audience-centered your organization has to center people. When I ran an adult studios program, I started reading a great deal about the rise of craft culture (this was in the pre-Pinterest days).
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.
Unsurprisingly, some of my favorite museums are small, funky places run by iconoclasts—but that’s not useful to most professionals who work for organizations in which they have little control over size or leadership matters. Third, you need to align your idea with institutional culture. It’s nice to have both.
There are some obvious ties to the role of "community" in museums. Recently, some museums have launched initiatives to rebrand as community spaces, acknowledging and attempting to harness the positive social energy around visitation. Could museums do this? around gameplay. How do these game companies steer the discussion?
Every museum has a number for its operating cost per visitor. Most museums don't strategically set this number--too many operating costs are fixed by building needs--but they can use it to assess how expensive each visitor interaction is and evaluate the efficacy of programs. So where do online initiatives fit in?
Radiolab does what I hope all great museum exhibitions can do--take a deep topic and make it compelling on many levels. They articulate the basic questions and knee-jerk reactions in our own minds, carrying us deep into the content from a common starting place. Which brings me to museums and how we present content.
I've been thinking recently about ways to represent issues (social, political, scientific) in museum settings. Museums often pursue the dual goals of presenting accurate, objective information while encouraging visitors to think for themselves, take a stand, engage with the issue at hand. But is stand-taking always right for museums?
to better articulate what you are really trying to do with your project concept. It also helped me identify people I should be spending more time with in the short term (and it made me think of you, Museum 2.0 The Structure Lab is set up as a "game" in which you explore cards in various categories (values, assets, financing, etc.)
Last week, Elaine Gurian and I talked about radical change in museums. Former museum start-up queen, Jen is taking a small organization whose goal is to promote girls’ involvement in math and science through research and programming to new, innovative, exciting places. But my background is in museum startups.
All weekend, we've heard uplifting stories about amazing work you all are doing to involve people from all walks of life in museums. There is no other museum conference going on somewhere else in the world today where professionals are sharing proud case studies and helpful tips on how to exclude people. But museums do exclude people.
I’ve managed campaigns ranging from about $5 million to over a billion dollars in health care, education, arts and culture, and advocacy sectors. And then unpacking some case studies that can articulate some of these strategies in action. It builds a culture of trust and respect.
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?
Before that, she did it on Google’s Material Design team ( material.io ) and UX Community & Culture team where she told stories about the people, product, and practice of UX ( design.google ). He was awarded the National Design Award for industrial design by the CooperHewitt, National Design Museum.
What’s in the crystal ball for museums and libraries? The IMLS (Institute for Museum and Library Services) has commissioned a preliminary proposal for an NAS (National Academy of Sciences) report on museums and libraries in the 21st century. What are the essential differences and similarities between libraries and museums?
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