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There are many artistic projects that offer a template for participation, whether a printed play, an orchestral score, or a visual artwork that involves an instructional set (from community murals to Sol LeWitt). One of the things I always focus on in participatory exhibit design is ensuring that everyone has the same tools to work with.
It is multi-disciplinary, incorporates diverse voices from our community, and provides interactive and participatory opportunities for visitor involvement. This post focuses on one aspect of the exhibition: its participatory and interactive elements. So many museum exhibitions relegate the participatory bits in at the end.
Estimated Reading Time: 6 minutes Celebrate, Educate, and Fundraise: Planning Winning AAPI Heritage Month Events As the vibrant tapestry of Asian American and Pacific Islander (AAPI) Heritage Month unfolds, the opportunity to celebrate, educate, and inspire through impactful events is immense.
When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. Museums see open-ended self-expression as the be-all of participatory experiences. Why aren’t more museums designing highly constrained participatory platforms in which visitors contribute to collaborative projects?
It incorporates work by local artists, old and new construction, and is completely gorgeous. She did several things over the course of the tour to make it participatory, and she did so in a natural, delightful way. But participatory facilitation can be taught. Tags: personalization participatory museum.
When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. Museums see open-ended self-expression as the be-all of participatory experiences. Why aren’t more museums designing highly constrained participatory platforms in which visitors contribute to collaborative projects?
Stacey has been collaborating with local artists to produce a series of content-rich events that invite visitors to participate in a range of hands-on activities. The event involved over fifty artists throughout the building helping visitors make their own paper, write poems, stitch books, etc.
That's how I felt when artist Ze Frank got in touch to talk about a potential museum exhibition to explore a physical site/substantiation for his current online video project, A Show (s ee minute 2:20, above). He is an authoritative artist of the social web with a slew of accolades and a suite of diverse projects under his belt.
The Denver Art Museum is no stranger to community collaborations, but we’ve been dipping in our toe a little more deeply when it comes to developing permanent participatory installations. This summer’s Museum-wide celebration of textiles, Spun , consists of fourteen exhibitions and “moments” (most temporary, some permanent).
The World Beach Project is managed by the Victoria and Albert Museum in London with artist-in-residence Sue Lawty. Many museums do not provide participants with clear terms surrounding their submissions, and for savvy people (especially artists!) In their personal statements, beach artists wrote about profound connections to nature.
We're working with participatory online artist Ze Frank on an exhibition at the MAH this winter that features the missions, creations, and explorations of his current web series, A Show. Read more about the project and how to participate here. Ze Frank Weekend - Jan 12-13, 2013.
Most of my work contracts involve a conversation that goes something like this: "We want to find ways to make our institution more participatory and lively." Most museums that offer interactive exhibits, media elements, or participatory activities offer them alongside traditional labels and interpretative tools. (And Fabulous!" "But
We dont have digital data for a lot of human intelligence, because people werent valuing the people who produce those books, or the people who produce that artit didnt get digitized, didnt get celebrated, didnt receive comments on Reddit or Facebook. Were using them instead in ways that someone else can make money from most quickly.
It's not the extent to which they are participatory. Why are museums going in the other direction, trying to become more consistent rather than celebrating their idiosyncrasies? They may employ local artists to help create visitor experiences. But when I really think about it, all my favorites (so far) have one thing in common.
Last month, I met an artist who was part of a group that created a renegade podcast tour for the Portland Art Museum. The participatory element employs an accessible speculative question. The participatory element is modeled well by the "official" content. I enjoyed listening to it (virtually, not at the museum).
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