This site uses cookies to improve your experience. To help us insure we adhere to various privacy regulations, please select your country/region of residence. If you do not select a country, we will assume you are from the United States. Select your Cookie Settings or view our Privacy Policy and Terms of Use.
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Used for the proper function of the website
Used for monitoring website traffic and interactions
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Strictly Necessary: Used for the proper function of the website
Performance/Analytics: Used for monitoring website traffic and interactions
Have you ever been to a restaurant, museum or shopping mall and needed to use the bathroom? We particularly appreciate search bar suggestions, like how Spotify invites users to search not only a song title but an artist or a podcast too. You begin by looking up and around for any sort of signage.
Last week, my museum hosted Hack the Museum Camp , a 2.5 day adventure in which teams of adults--75 people, of whom about half are museum professionals, half creative folks of various stripes--developed an experimental exhibition around our permanent collection in our largest gallery.
How do you help visitors know what they can and cannot do in your museum? Most museums have this figured out: they have signs, they have guards, they have cases over the objects. And this works pretty well in science museums, where designers talk about "hardening" exhibits to withstand the more aggressive touchers among us.
Like a lot of organizations, my museum struggles with two conflicting goals: The museum should be for everyone in our community. At the Santa Cruz Museum of Art & History , we''re approaching this challenge through a different lens: social bridging. Museum of Art and History programs social bridging'
Last week, Douglas McLellan of artsJournal ran a multi-vocal forum on the relationship between arts organizations and audiences, asking: In this age of self expression and information overload, do our artists and arts organizations need to lead more or learn to follow their communities more?
There are lots of museums (and organizations of all kinds) looking for ways to inspire users and visitors to produce their own content and share it with the institution online. The World Beach Project is managed by the Victoria and Albert Museum in London with artist-in-residence Sue Lawty. It's not marketing hype.
Last Friday, I witnessed something beautiful at my museum. At the adjacent table, my colleague Stacey Garcia was meeting with a local artist, Kyle Lane-McKinley, to talk about an upcoming project. I've been documenting lots of small bridging incidents at our museum over the past few months. Kyle had brought his baby with him.
Helene Moglen, professor of literature, UCSC After a year of tinkering, the Santa Cruz Museum of Art & History is now showing an exhibition, All You Need is Love , that embodies our new direction as an institution. So many museum exhibitions relegate the participatory bits in at the end. The Love Lounge I LOVE.
How did the authors come up with the intriguing blend of curatorial, interpretative, and inventive opportunities shown in the Audience Involvement Spectrum's Venn diagrams? Why is a photography contest an example of "crowd sourcing" wheres a community drawing contest is an example of "audience-as-artist"?
Facilitated/Unfacilitated Blend When we started this course, I really pushed the students to think about ways to induce unfacilitated interactions among strangers. They reminded me of street vendors or great science museum cart educators, imparting an energy to the space without overwhelming it.
I started my museum career as an exhibit designer. But I reserve for Don Hughes that particular blend of admiration and fear that comes when encountering uncompromised brilliance. He is a genius designer out of central casting: an artist, mercurial, funny, emphatic, honest, unflinching, with a disarming weakness for babies.
This is the ninth 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. Working with creative people taught me to think like an artist: observe, explore, dive in, look out.
Brett’s approach is both unique and inspiring, seamlessly blending time-tested fundraising techniques with his trademark humor and heartfelt enthusiasm during live auctions and fund-a-need paddle raises. Jude, Make A Wish, American Cancer Society, and The Museum of African American History.
Every day for the past two months, a man has entered the largest gallery in my museum. The man is artist Rocky Lewycky , whose work is part of a group show of visual artists who have won a prestigious regional fellowship. It also complicates the question of what is acceptable in a museum. This is not a crime. Definitely.
Coffee lovers will jump at the chance to try new coffee blends or brewing methods for their morning, afternoon, or evening cup of joe. While artists will love a new set of paintbrushes or acrylic paint, offer a unique experience like a tour of the local art museum for those who simply love the craft.
Being the great-grandson of the French artist Henri Matisse can be complicated. It’s what his family talked about at the dinner table; the walls of his home were full of paintings usually seen only in museums. Like many of the Matisse children, Alex had artistic inclinations. “Its proper pottery.
He was awarded the National Design Award for industrial design by the CooperHewitt, National Design Museum. Cheryl is a member of the International WELL Building Institute Governance Council; as well as a Trustee for Chicagos Museum of Contemporary Art and the NYSID. Olympic & Paralympic Museum and Warner Bros.
We organize all of the trending information in your field so you don't have to. Join 12,000+ users and stay up to date on the latest articles your peers are reading.
You know about us, now we want to get to know you!
Let's personalize your content
Let's get even more personalized
We recognize your account from another site in our network, please click 'Send Email' below to continue with verifying your account and setting a password.
Let's personalize your content