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If you’ve ever watched a video on YouTube, used a USB device, had a bone marrow transplant, gone surfing, or enjoyed any number of movies, musicians, or artists, you’ve experienced one of the countless contributions of Asian Americans and Pacific Islanders (AAPI).
This August/September, I am "rerunning" popular Museum 2.0 Originally posted in April of 2011, just before I hung up my consulting hat for my current job at the Santa Cruz Museum of Art & History. I''ve spent much of the past three years on the road giving workshops and talks about audience participation in museums.
The artists come from all over (though many are based in the Midwest), and anyone can enter. Now, after attending with museum friends from around the country, I'm hooked. Artprize invited me to talk about art with artists, families, security guards, friends, people old and young, sophisticated and novice, drunk and sober.
Here is an example of an artistic program or creative process undertaken as a crowd and it isn't a cheap publicity stunt. I came across Jeff Howe's definitive book on Crowdsourcing and in the last chapter he offer guidelines for crowdsourcing. How do you evaluate this? Crowd Creation: Crowds have creativity.
It was good opportunity for me to look back at the crowdsourcing chapter in our book, The Networked Nonprofit , and update the examples and thinking. The presentation was followed by a discussion about how one might evaluate efforts to engage crowds. Does crowdsourced creativity reach a different (younger) and new audience segment?
In 1990, educator and cultural critic Neil Postman described a museum as "an answer to a fundamental question: what does it mean to be a human being?" Without an explicit "I" voice, the museum's perspective on humanity is oblique to say the least. Welcome to Pine Point is not a museum project. It tells layered personal stories.
Audience segmentation and research has become a hot topic in museums, especially when it comes to crafting appealing offerings that are customized to different kinds of visitors. I sat down with Kristen Denner, Director of Membership and Annual Fund, to learn more about the program's development and the museum's goals for its future.
I've spent much of the past three years on the road giving workshops and talks about audience participation in museums. The Museum 2.0 In 2008 and 2009, there were many conference sessions and and documents presenting participatory case studies, most notably Wendy Pollock and Kathy McLean's book Visitor Voices in Museum Exhibitions.
This week, we consider Chapter 11 of Elaine Gurian's Civilizing the Museum , "Function Follows Form: How mixed-used spaces in museums build community," but first, a short and relevant note about my writing process. Museums are naturally tuned to some of these but not all. a disparate mix of useful services.
This week, a look at Chapters 16 and 17 of Elaine Gurian's Civilizing the Museum. Why don't more museums do this? Many museums, especially large ones, exhibit the worst of the feudal cubicle wars--the Collections Department vs. the Exhibition Department vs. the Education Department.
I created a directional pyramid to make a point about social content in museum; namely, that museums are not offering networked, social experiences—and therefore will have a hard time jumping to initiating meaningful social discourse. And I’m not advocating that the dream museum would be all level 5 experiences, all the time.
This is the penultimate installment of Museum 2.0's s book club on Elaine Gurian's collection of essays, Civilizing the Museum. Next week, we'll conclude by talking about opportunities for institutional change with chapter 8, "Turning the Ocean Liner Slowly." have portrayed Indians inaccurately."
When writing The Art of Relevance , I knew I wanted to share a bit of his story and the ways artists negotiate the relevance of their own work. Here's that chapter. No museum puts up a label that says: “Our last curator thought this painting was lousy and kept it in storage. The work is the work. They made magic at the MAH.
He is also a member & ambassador of the Anchorage Chamber of Commerce Board and a member and the BNI Alaska Business Pipeline Chapter, a business referral networking group. Jude, Make A Wish, American Cancer Society, and The Museum of African American History. Dan is bilingual in English and Spanish.
As Peter wrote: If someone enjoys Arts Event A because it’s social, informal, energetic, fun, and hip, why should we expect her to also enjoy Arts Event B if B is individual, formal, quiet, serious, and traditional (at least in its presentation, if not artistically)? Dias de las Muertos or Chinese New Year to attract new audiences.
In order to get a book published, I was told I had to have a museum exhibit. Fortunately, the Field Museum in Chicago mounted an exhibit of the photographs for In Her Hands. I did get back to her, and I said that I would consider doing the other chapters about their grantees with two stipulations. PG: My website!
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