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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.
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 incorporates work by local artists, old and new construction, and is completely gorgeous. The guide, Vi Mar, was an incredible facilitator. She did several things over the course of the tour to make it participatory, and she did so in a natural, delightful way. But participatoryfacilitation can be taught.
I met her like ten years ago when I leading training workshops for arts educators, artists, and arts organizations throughout New York State on how to use the Internet. I remember her community of clocks project -- she facilitated content creation from schools around the world on the theme of clocks. Meet Susan Silverman.
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.
This week marks five years since the book The Participatory Museum was first released. I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. But almost ALL of those opportunities are facilitated by people. Humans empower each other.
The artists come from all over (though many are based in the Midwest), and anyone can enter. Artprize invited me to talk about art with artists, families, security guards, friends, people old and young, sophisticated and novice, drunk and sober. Then get yourself to Grand Rapids for Artprize. It's the social experience. The prizes?
The Art of Participation provides a retrospective on participatory art as well as presenting opportunities for visitors to engage in contemporary (“now”) works. 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."
To that end, our exhibitions are full of participatory elements. the most powerful evidence of it happening is when our active role as designers/facilitators becomes invisible. Community members, artists, and organizations increasingly see our museum as a place where they can advance their own goals, and so they approach us.
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. This project wove together many different participatory threads. The facilitation was as chaotic and fragile as a spiderweb. Short story: we learned a lot.
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?
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? For this reason, I see history museums as best-suited for participatory projects that involve story-sharing and crowdsourced collecting (e.g.
In a straightforward way, Marilyn explains how her team developed a participatory project to improve engagement in a gallery with an awkward entry. The activity was facilitated by the activity station set up in the lobby just outside the gallery. This is a perfect example of a museum using participation as a design solution.
I was thrilled to work with the Brainerd Foundation staff to help design and facilitate a design lab using techniques based on Luma Institute methods earlier this month. Here’s what I learned about the facilitating design thinking processes: What Is A Design Lab? Why Use One? Concept 2: Mission: Possible.
Be sure to recruit knowledgeable facilitators. Curate an exhibit of paintings, photographs, sculptures or crafts by AAPI artists. Artists, writers, and cultural leaders. Aim to create an inclusive, welcoming atmosphere that brings together diverse AAPI communities and builds bonds. Community organizers and non-profit leaders.
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. Tags: evaluation exhibition design participatory museum usercontent.
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. creative placemaking design participatory museum public space social bridging'
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. well, you know.
The groups can use three different approaches: physical, artistic, or traditional word presentation. A person is randomly designated as the facilitator for a 15 minute discussion on each of the topics in the envelope. This is the cocktail party, the hallway conversation, a structured time to meet and talk.
People who work with non-professionals on participatory projects often talk about finding "neutral" sites for meetings or meeting on their (the non-professionals') territory. The same thing applies to exhibits, but Second Life is a tool that facilitates making the exhibit in a more accessible way than full-scale fabrication.
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