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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.
I have a confession to make: I've never cared much about museums on the Web. When smart people talk about digital museums and virtual experiences, I nod and compartmentalize it as someone else's bailiwick. And it breaks a lot of conventional rules about museum homepages. Is this the future of all museum websites?
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.
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?
YBCA:YOU is an intriguing take on experiments in membership and raises interesting questions about what scaffolding people need to have social and repeat experiences in museums. Anton felt that his reading of art was so consumed by scholarly critique that it was hard to articulate a purely intuitive response.
At the Santa Cruz Museum of Art & History (MAH), we've started experimenting with a "community first" approach to program development. Here are a few things that I think helped make this experience valuable: We started from communities' needs, not the museum's. For example, one of our groups was focused on commuters.
I tell the story of the one-man band because I think many museum professionals feel like him. But, most importantly, few museum professionals have a free hand or moment. I hope to hear you articulate your thoughts in comments or on social. Museums rarely have the funding to replicate positions. There are plenty.
When you count attendance to your museum, do you include: people who eat in the cafe? It''s about museum attendance and how the five big, free museums in St. Summertime concerts at the history museum? Outdoor movies at the art museum? If a kid gets dragged to a museum with their parents, do they count?
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 kind of story will still articulate values that donors connect with and could be motivating in a different way. But what about arts organizations or museums? What about schools or conservation causes?
Being able to articulate and quantify how your organization engaged volunteers prior to the pandemic and since the outbreak is equally important to understanding the trends across the sector. Know your own Engagement and Impact. Where were your strengths? How have you pivoted?
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. Louis homeless shelters to introduce them to the local museums. Why can't new visitors do the same?
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
Christy Crosser from Estes Park Museum Friends & Foundation, Inc. Lastly, those interested in starting a new nonprofit should investigate other nonprofits that offer similar services and consider partnering with that organization rather than starting a new nonprofit that competes for limited resources. Great question.
Very, very few museum visitors are in the "dog and baby" category. It''s really important to be able to articulate what we need to achieve our institutional missions. I don''t hear this phrase accompanied by evidence-based articulation of "needs" of audiences. They are human beings. They are complex. But what do they need?
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.
I''m prepping for a week of talks to museum, zoo, and library folk, and this is the question that is driving some of what I plan to share. I wondered if he was articulating it clearly enough for others to bring brilliant ideas forward. TORONTO: Thursday January 30 at the Textile Museum from 4-6pm. No RSVP required.
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.
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. Happy International Museums Day. This project is led by the MAH but global in scope. Our contexts are different.
That can be an advantage, as it’s nearly impossible to convince people who’ve made up their minds about crypto, blockchain, museum curation or fractal ownership to get excited about Arkive. Make it easier for investors to paint your dream in numbers — it makes it far easier to give an enthusiastic “yes!”
For example, when supporters become members at an art museum or buy season tickets to the ballet, theyre supporting a nonprofit. They also receive tangible benefits discounted admission to the museum, or simply seeing Swan Lake. What inspires their support, beyond the incentive of free guest pass at the museum?
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. I've learned a lot from attending and teaching workshops this year.
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. Museums often don’t have enough clout to be about to be community-centered or audience centered on their own. I was woefully wrong.
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. There's a constant dialogue in participatory work about how to make peoples' contributions meaningful.
By Lori Byrd-McDevitt After a decade spearheading the social media presence at the world’s largest children’s museum, Lori now co-owns her agency 1909 DIGITAL where she helps others with their digital strategy. She is an adjunct in JHU’s museum studies faculty. Museums have made waves. It’s our time to shine. Let’s do this.”
Museums and cultural organization tend to be organizations of this sort; many advocacy and political groups also structure themselves in this way. The staff and board need to articulate quite different sorts of business rules and practices for these two subspecies. Membership here is a way to package fundraising.
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.
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?
How is a museum like a radio station? It’s called Pandora , and its successes reveal interesting lessons about aggregating museum content. And it’s the introduction to new music that makes Pandora uniquely interesting to me as a museum person. Could I have articulated that at the start? I learned something! From experts!
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. Many museums are making this shift as they hire “community managers” who communicate with users on an ongoing basis.
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?
How can museums learn from it? Where do museums fit in? Many museums have a fascinating relationship with process exposure—lips sealed when it comes to their own final products, megaphones on when it comes to exposing the processes of others. What’s appealing about this, and what’s prurient?
Several of the projects I'm working on these days relate to the concept of "extending the museum experience." And so when it comes to designing online extensions to the museum experience, we need to apply a different set of expectations from those we use to design onsite experiences. But most online experiences are not linear.
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?
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.
This question is a byproduct of the reality that most participatory projects have poorly articulated value. One of the questions that comes up most frequently when I talk with folks about participation is: what should we do with the things that visitors create? What should we do with their post-its and stories and drawings and poems?
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. or to start their own.
I don't think she is saying SL is a fad that will go away as other people without her depth of knowledge have articulated. Maybe for nonprofits, it is in the marketing area, where taking people into your world makes sense or for museums. She is also saying that virtual worlds are not for everyone which is definitely true.
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.)
You can join the conversation in the blog comments, or on the Museum 2.0 It was by articulating it that Oldenberg allowed a common platform of understanding through which others could develop, debate and refine these concepts. Every Tuesday in June, this blog will feature a guest post examining some aspect of the book.
They take care of your facility, give tours of your museum, welcome attendees to your annual gala, and pass out medals at fundraising races. Your volunteers should be able to clearly articulate what your organization stands for and what makes it worth volunteering for. Volunteers are the backbone of any nonprofit organization.
They want articulated goals and expectations. In the case of Minnesota History Museum's user-generated exhibition MN150 , sharpening the criteria (and tightening the language) for user submissions made for both better user-created content and easier decisions by the staff on what to include in the final project.
And then unpacking some case studies that can articulate some of these strategies in action. Is that when fundraising expectations are clearly articulated during recruitment 52% of CEOs report that their boards are actively engaged in an organization’s fundraising efforts.
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