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Chris Torres, the artist behind Nyan Cat, has remastered the original animation and will be selling it through the crypto art platform Foundation. Last year, the digital artist Beeple sold a series of works for more than $3.5 You also get to directly support an artist, and I think that is really exciting for people.”.
Ruth Cohen – American Museum of natural History. Jason Eppink – Museum of the Moving Image. Ruth Cohen – American Museum of natural History. We are trying to change the visitors’ experience at the museum as well as ownership of what is in the museum, break down the walls between the public and the museum.
Last week, I visited the Wing Luke Asian Museum in Seattle. I've long admired this museum for its all-encompassing commitment to community co-creation , and the visit was a kind of pilgrimage to their new site (opened in 2008). I'm always a bit nervous when I visit a museum I love from afar. What if it isn't what I expected?
Musical Instrument Museum. As a member of the board of YNPN (Young Nonprofit Professionals Network) Phoenix, I have been fortunate to cross paths with some extraordinary emerging leaders, facilitators, mentors, and nonprofit sector thought leaders. Maureen Baker , Manager for Individual Giving. Like this article?
I get excited about a lot of things in my work at the Santa Cruz Museum of Art & History. 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).
I'm thrilled to share this brilliant guest post by Marilyn Russell, Curator of Education at the Carnegie Museum of Art. This is a perfect example of a museum using participation as a design solution. The activity was facilitated by the activity station set up in the lobby just outside the gallery. This was transformational!
He is Deputy Director for the Contemporary Jewish Museum , and an expert in using social media in a museum setting. We were lucky enough to have a fabulous space for the workshop in the Contemporary Jewish Museum. Most importantly, I need a good facilitator for each table. I said yes.
I’ve had the pleasure working with Diana Scearce , from Monitor Institute, who has been facilitating and weaving this network. Social media tools for engaging and capturing the work of crowds include: wikis, custom platforms or web sites that facilitate voting, rating, giving feedback, adding content, or funding.
As Ben Cameron recently said, "I don''t know any artist who started a theater company saying, ''let''s go out and improve some test scores!''" It prevents us from focusing on research that could transform our own work. But what is the value of a study that tells us that museum visits make a difference? She needed money.
Recently, I was giving a presentation about participatory techniques at an art museum, when a staff member raised her hand and asked, "Did you have to look really hard to find examples from art museums? Aren't art museums less open to participation than other kinds of museums?" I was surprised by her question.
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.
Between high-altitude hijinks, run-ins with wildlife, and very long days of hiking, I finished John Falk's new book, Identity and the Museum Visitor Experience. In other words, if you are a curious person, you will go to museums to learn new things. And the facilitator wants his friends and family to have a good time.
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?
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?
This is a picture of the largest temporary exhibition gallery in the Santa Cruz Museum of Art & History. This winter, my museum is trying an experiment called Work in Progress. This winter, my museum is trying an experiment called Work in Progress. How do we facilitate visitor experiences in these spaces?
I like to ask myself this question periodically, challenging myself to find substantive ways for visitors to contribute to our museum. And when I think back on the past year, some of the most magical things that have happened at the museum have NOT been designed by us. We don't have to convince them that it's their museum.
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.
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). Beck talks about this in the context of learning to play music as a young artist. There are twenty songs in Song Reader.
I''ve mostly seen museums employ one of two methods for formal community advisors: Create special "spots" on the board of trustees for certain kinds of community representatives. CON: can feel disconnected from the primary governance of the museum or can feel like a second-class board overall. I struggle with both these options.
Last month, artist and game designer Nikki Pugh led an utterly charming, often hilarious community residency at the City Gallery in Leicester, UK. There was a large mind map on the wall with a prompt in the middle encouraging visitors to imagine a slightly distant future with no staff present to enforce the rules in galleries or museums.
I just spent two days in Miami at the Knight Foundation Media Learning Seminar where I co-facilitator a pre-conference workshop on leading on social channels with Amy Gahran and Stephanie Rudat. Then once they visit have such a great experience that they want to stay connected with the museum through social channels.
This week marks five years since the book The Participatory Museum was first released. Across the museum field, the questions about visitor participation have gone from "what?" I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. and "why?" to "how?".
“We saw on the Obama campaign you’ve got to combine content and technology to facilitate action. and “On Sunday, are you most likely to be: at brunch, at church, at a museum, or watching the big game?&# Its also valuable for small business, artists, and much more. Argentina, France, India, or Kenya?&#
The speakers for this panel include: Tracy Fullerton - Electronics Arts Game Innovation Lab Ruth Cohen - American Museum of natural History Elaine Charnov - The NY Public Library Jason Eppink - Museum of the Moving Image Syed Salahuddin - Babycastles Elaine Cohen: The New York Public Library 100 Years of the flagship library in New York.
Thanks to Kyle Evans, who forwarded me the fascinating, lengthy master’s dissertation.art: Situating Internet Art in the Modern Museum by Karen Verschooren at the MIT Comparative Media Studies program. In it, Karen provides a survey of the evolving relationship of Internet art to art museums. Citizen science programs. On the website?
This week marks one month of live activity for the Tech Virtual Museum Workshop , a collaborative, online platform for exhibit development. For me, it means spending a lot more time facilitating idea generation and communicating with others than being an independent creative agent. A month ago, I invited you to join this project.
Facilitated/Unfacilitated Blend When we started this course, I really pushed the students to think about ways to induce unfacilitated interactions among strangers. I love facilitated experiences, but I worry that they aren't scalable to every visitor. This is a good lesson for museum talk-back design.
We partnered with foster youth, former foster youth, artists, and community advocates to create an exhibition that used art to spark action on issues facing foster youth. The facilitation was as chaotic and fragile as a spiderweb. Two years ago, our team at the MAH embarked on our most challenging co-creation project ever.
Earlier this year, the New Museum and Creative Time commissioned a traveling piece by artist Jeremy Deller called "It Is What It Is: Conversations About Iraq." I saw It Is What It Is twice at the Hammer Museum. Why would I want to talk about Iraq on a visit to an art museum? Even for me, the barriers were too high.
A platform for museum staff to serve as facilitators of safe spaces for difficult conversations? The Living Library was conceived in Denmark in 2000 as a way to engage youth in dialogue about ending violence by encouraging people to meet their prejudices and fears in a safe, fun, facilitated environment. I think so.
As the museum's website puts it, "this exhibition examines how artists have engaged members of the public as essential collaborators in the art-making process." Staff play a major role in setting expectations about what visitors can and can not do-especially in art museums. DO message clearly. DO train your floor staff.
Visitors in front of the African Elephant Diorama at the Natural History Museum of Los Angeles County (NHMLAC photo) This guest post was written by Karen Wise, Vice President, Education and Exhibits at the Natural History Museum of Los Angeles County. “I Familiarity may breed contempt in some contexts, but apparently not in museums.
But I couldn''t fully imagine how a museum or an arts center could embody it. Over three days, 52 artist teams erected experimental projects along San Francisco''s biggest thoroughfare. The result was a true experiment in designing the future--right here, right now--with artists and planners and civic leaders at the helm together.
This is the penultimate installment of Museum 2.0's s book club on Elaine Gurian's collection of essays, Civilizing the Museum. As Elaine puts it in the essay, When I was last involved in such an endeavor, it was when the Boston Children's Museum was small, insignificant, and unselfconscious. have portrayed Indians inaccurately."
Joe explains some of the planned intentional dialogue events: First, for the opening night dinner, we hired a local dance company that is putting together pieces about visiting museums, punctuated by an actor/dancer asking provocative questions to the group. At each table there will be an envelope with questions inside.
Elisa’s focus is interactive arts, media design, and cultural management, and she has been involved in many pertinent projects, such as MUVI (the Virtual Museum of the Collective Memory of Lombardia). Environmentalists, the Museum of Natural History at CU, they all responded very enthusiastically to this.
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. We'd talk about the work itself.
The artistic power of what I saw came from the palpable sense of risk--for the participants, for the dancers, and for the entire audience in the room. Particularly in highly facilitated situations, there are wonderful opportunities to use "unsafe" participation as a way to push art and audience experience to a whole new level.
On Friday, I facilitated the final face-to-face workshop for the Social Media Lab for 25 arts organizations inspired by Thomas Edison’s approach. The whole idea got started a year ago when James Leventhal who is Deputy Director for the Contemporary Jewish Museum asked me if I would design some trainings for the local arts community.
In addition to spelling out the work that ACAC is already doing, the MOU added a requirement for ACAC to support local artists with some financial compensation. Christy Crosser from Estes Park Museum Friends & Foundation, Inc.
But Vi doesn't work in a science museum. Beth Harris and Steven Zucker, who are well known in museums for their excellent Smarthistory website and podcasts. the way the best museums do. Does this mean Khan Academy is competitive with museums? She would be the best science center educator ever.
One of these was focused on moss, and it included a microscopic deep dive into the cushiony plant by designer and artist Pol Clarissou. Not in the sense that mass art is produced using the software — Bitsy games are still an underground proposition — but in the way it facilitates “everyday forms of creativity.”
To help facilitate a pleasant outdoor meal experience, auction off a picnic gift basket with dishware, cutlery, wine glasses, and a cheeseboard. 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.
Museum of Contemporary Art. They’re facilitating Q&A sessions and panels, including the media panel with Matt Higginson from Medium and Sarah Harris from Incite. to meet artists and solicit assignments from them that everyone can participate in. It’s hard to believe we’re only two days away from. IN-PERSON LEARNING LABS.
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