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I write this piece in good faith about the organizations I know best: museums. The vast majority of American museums are institutions of white privilege. They present masterpieces by white male artists and innovations by white male scientists. I never saw comparable adjectives used in the European art labels at the museum.
This week, I''m celebrating three years on the job as the executive director of the Santa Cruz Museum of Art & History. This spring marked a big conceptual shift for me and the museum. Our Curator will lead the way in bringing together professional artists and non-artist participants in the development of powerful exhibitions.
Even as demographics change and public participation in the arts shifts away from these Euro-traditional formats, the money still flows down the old pathways. There's the barrier of artistic quality--funders, trustees, or staff members who argue that work by non-canonical artists is not up to the standards of the institution.
Demographics like a donor’s age, education level, and occupation are the clearest places to start with donor segmentation. For instance, a large nonprofit focused on preserving arts and culture might segment its audience by location and focus its stories on the most well-known museums or cultural landmarks in a donor’s state.
I think about how hesitant I was to become an artist, because I didn't see role models, and even to this day how hard it is for me sometimes to find peers who are women of color, because of how systematically they are pushed out. I'm an artist and an institution builder. The kind of art I do is art that gets engaged into the public.
A Matter of Demographics. Part of Pinterest’s potential is it’s unique demographic user-base. Pin masterpieces from the budding artists in your arts classes. If you're a museum, zoo, or aquarium: 19. The San Francisco Museum of Modern Art has a Pinterest Board with items for sale in the museum store.
At the Inclusive Museum conference this summer, Dr. Rick West introduced this question through a tale of two museums. He described the National Museum of the American Indian--where he was founding director--as a multicultural institution, celebrating the diversity of Native peoples throughout the Americas.
And Carlton Turner runs Alternate Roots , another incredible artists' organization with a focus on social change that runs an annual conference/camp/experience which I have heard is mind-blowing in North Carolina. The Center for the Future of Museums maintains a good list of top ten resources on demographic change as related to museums.
It’s also much easier to target and personalize your message to different demographics, making your marketing strategy for fundraising far more effective. Make sure to advertise your artists and makers on your social media platforms leading up to the opening of your shop with photos and videos. Virtual tours for museums.
When I first started exploring the site, I assumed it was mostly a place for charismatic hipsters and a few star artists with enough social media savvy and clever video production capabilities to produce enticing pitches. game and the Neversink Valley Museum's capital campaign launch materials. The museum's page is much simpler.
For example, Pencils of Promise will be hosting, for the first time in two years, its PoP Gala on October 20 at the Museum of the Moving Image in New York City. A unique NFT will be designed by an artist and auctioned off during the event, with proceeds donated through the auction directly supporting the organization.
The conventional wisdom on museum memberships is that they are "one size fits many" programs whose primary benefits are free entrance to the museum and insider access to exhibition openings. But what about all the other people who love your museum? Want to know how the Brooklyn Museum is answering this question?
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.
Pages 9 and 10 pull together data from the NEA, the Irvine Foundation, Dance/USA, RAND, and the Knight Foundation to tell a tight, compelling story about the demographic shift from consumptive to active participation and the extent to which traditional arts audiences are also participating in art-making outside of traditional arenas.
These are the slides and notes for the talk I gave at the American Alliance of Museums conference on Monday, April 27 about the Santa Cruz Museum of Art & History. When I became the director of the Santa Cruz Museum of Art & History four years ago, I took this work with me. They talked about community building.
Well, in some pretty big ways if you talk to the team at Thinkery , who just created Thinkery21 , an evening of fun created just for this demographic. How can you explore doing something similar at your museum? Austin is full of brilliant artists, scientists, musicians, performers, educators and organizations doing incredible work.
In museums, attention to the visitor--her desires, his preferences--has grown over the last few decades. Or a demographic to whom you need to sell more tickets? I wonder how many young artists, poets, designers have the same Ayn Rand-ian attitude and will never make it far enough to be asked about their process by others.
What are the demographics of your auction guests? 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. What is your auction’s target group? Is your auction benefitting an animal shelter?
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