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--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. This post focuses on one aspect of the exhibition: its participatory and interactive elements.
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.
As of May 2, I will be the executive director of the Museum of Art & History at McPherson Center in Santa Cruz, CA (here's the press release ). Because of the increased workload I expect in the months to come, as well as the likely possibility that we will start a Museum of Art & History blog, I'm lowering my Museum 2.0
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. and then recounted some related fact or history. It was clear that Vi isn't just someone who talks about history.
Note From Beth: Yesterday, I attended a convening called “ Beyond Dynamic Adaptability ” for arts organizations about cultural participation in the arts. But that is only the jumping off point for the inquiry.
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.
Visitors bond and bridge through participatory experiences at MAH. To apply the results of my analysis to produce a community-driven program design specifically for implementation at the Santa Cruz Museum of Art & History (the MAH). You can download and read the full version of my thesis here.
It's my second week as the Executive Director at The Museum of Art & History in Santa Cruz, CA, and boy is my everything tired. I'm also making the 2011-2012 budget, getting to know our terrific staff and volunteers, and starting up a few small participatory projects to launch us into being a more community-driven institution.
In this post, George grapples with the challenges of balancing the care for a museum collection with that of contemporary artists-in-residence who are constantly reinterpreting it. Every Saturday, the curatorial team at Elsewhere , a living museum in downtown Greensboro, NC, reviews the project proposals of its artists-in-residence.
The man is artist Rocky Lewycky , whose work is part of a group show of visual artists who have won a prestigious regional fellowship. If an artist can come into a museum and smash stuff, what does that tell visitors? It is not acceptable to walk into a museum and destroy another artist''s work of art. Definitely.
The Silk Mill is part of the Derby Museums , a public institution of art, history, and natural history. In the fall of 2013, they launched Re:Make , an ambitious project to redevelop the museum, live, on the floor, with a mix of staff, guest artists, and community members. They see it as the future of their museum.
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).
We've been offering a host of participatory and interactive experiences at the Museum of Art & History this season. I loved Jasper Visser's list of 30 "do's" for designing participatory projects earlier this month. Artists work incredibly hard to produce their work. This isn't even participatory. It's just fun.
In particular, we want exhibition collaborators--artists, researchers, historians, collectors--to understand our goals and how we intend to steer the exhibition development process. We knew internally that we wanted our exhibitions to become more interdisciplinary, more participatory, and more responsive to audience needs.
Think like a musician Those who have played music in a band or orchestra or sang in a choir understand the profound impact of an engaged and participatory audience. Like a good ask-me-anything session with your favorite artist, these bits of interactivity boost engagement.
I've now been the Director of The Museum of Art & History in Santa Cruz for two months. But the point is that the MAH, like just about every other museum in the known universe, was content to define the museum experience as something removed from the outside world, a rarefied church-like space of refined artistic reflection.
She is a fabulous and thoughtful artist. It's a little living room in a lobby area that invites people to lounge on comfortable chairs, leaf through magazines and books related to art and Santa Cruz history, and generally hang out. You can learn more about her work here. The area that houses the Creativity Lounge also shows art.
I've seen this line of questioning almost completely disappear in the past two years due to many research studies and reports on the value and rise of participation, but in 2006-7, social media and participatory culture was still seen as nascent (and possibly a passing fad). In 2008, the conversation started shifting to "how" and "what."
But we've just compiled all our attendance data for the past year at the Santa Cruz Museum of Art & History (our fiscal year ends on June 30), and several people have written to me asking for the numbers behind our turnaround. design new programs with a focus on history. I promise--after this post, I'll stop writing about this.
This week, the Santa Cruz Weekly's cover story is about my museum (the Santa Cruz Museum of Art & History ) and the work we have done to make it a more participatory, community-centered place over the past two years. Perry describes me as the "conductor" of a community-programmed orchestra.
At the Santa Cruz Museum of Art & History , we''re approaching this challenge through a different lens: social bridging. Museum of Art and History programs social bridging' It can lead to parallel programming: bike night for hipsters, bee night for hippies, family night for kiddies. And rarely the twain shall meet.
There are many participatory experiences that appeal primarily to adults, and they are designed distinctly for adults. There's a huge difference between the edgy, DIY beauty of Candy Chang 's participatory urban artworks and the dayglow colors, exclamatory language , and preschool fonts of most museum interactives.
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? History Museums OPPORTUNITIES - History museums are in many ways the best-suited for visitor participation.
To that end, our exhibitions are full of participatory elements. What started as a fun personal project for her will hopefully become part of our permanent history gallery--a space we are trying to make more interactive over the coming years. Visitors can comment on how we can improve or what they would like to see.
At the museum of art and history where I work, we are grappling with the question of how to help people enjoy themselves while keeping the art and artifacts safe. In the history gallery, we have some blended props and artifacts, and it's rarely clear what is and is not ok to touch. Engagement with local artists.
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. Over the past four years, I''ve been running a small regional art and history museum in Santa Cruz, CA.
For years, I've been fascinated and a bit perplexed by the Elsewhere Collaborative , a thrift store turned artists' studio/living museum in Greensboro, North Carolina. Over the past seven years, this exploration has been undertaken by a staff of artists and more than 35 creators each year participating in our residency program.
We've gotten a little more organized at The Museum of Art & History , and we've now released opportunities for summer internships. This internship is for the truly self-motivated person out there with a brilliant idea for making museums more participatory, welcoming, community spaces who just lacks an institution at which to try it out.
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. 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.
These are both busy people, and while they are very artistic, neither is a crack drawer. This experience reminded me of how much confidence it takes to say yes to any new activities (this isn't limited to participatory projects) because of unfamiliarity with the process. I asked what plan B was if visitors didn't draw the items.
The weather is hopefully the least of the reasons you should want to come work with us here at the Santa Cruz Museum of Art & History. These are unpaid, part-time internships in which you will make a significant contribution to our work, and at the same time, learn a heck of a lot about participatory design and community engagement.
One that has found remarkable success is California’s Santa Cruz Museum of Art & History. Audiences of all backgrounds found ways to connect with museums as it presented exhibitions with the help of foster youth, migrant farmers, roller-derby girls, mushroom hunters, surfers and incarcerated artists, among others.
We have witnessed and experienced incredible moments of transformation: homeless people and history buffs working together on historic restoration, graffiti artists and knitters collaborating on new artistic projects, visitors from different backgrounds making collages, or sculptures, or dance performances together.
Embarking on Your AAPI Heritage Month Journey Asian American and Pacific Islander Heritage Month, celebrated every May in the United States, provides an important opportunity to honor the history, culture, and achievements of Asian Americans and Pacific Islanders. Artists, writers, and cultural leaders. Their fame attracts interest.
At the Santa Cruz Museum of Art & History (MAH), we've started experimenting with a "community first" approach to program development. We had about thirty participants ranging from MAH trustees to artists, educators to architects, moms to grandfathers. It was an evening meeting with beer and chips. Then, we went honeycomb-crazy.
Artists and arts organizations are contributing their spaces and their creative energies. Yet our posts contain similar phrases such as “21st century museums,” “changing museum paradigms,” “inclusiveness,” “co-curation,” “participatory” and “the museum as forum.”
In particular, we had a great group of 15 talking about participatoryhistory experiences on Sunday. Participatory art and co-creation on the rise. History and science museums. I was also thrilled to see Michelle DelCarlo do a pop up "pop up museum" during the conference, advertised only through Twitter.
We ran with it and have since generated data about decision-making, cooperation, competition and negotiation for scientists (and also some artists) to play with. He''ll be able to watch how certain activities evolve into coordination and what kinds of histories the people who most easily coordinate have in common.
Why the Video Contest Worked Video contests are one of the most challenging kinds of participatory projects to pull off. Nothing warms my heart like seeing outtakes of a guy trying to scale the walls of MSI, or a man spinning a yarn about his family's long history sleeping in museums.
I''ve now been the executive director of the Santa Cruz Museum of Art & History for three years. Over the past three years, we''ve tripled our attendance, doubled our budget, and, most importantly, established deep and diverse relationships with community members, artists, and organizations across Santa Cruz County.
This article sparked some interesting discussion online with colleagues from natural history museums, which deal with damage and touching very differently than art institutions do. What happens to objects when they are no longer art? How should (and do) we treat them?
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. Short story: we learned a lot. We wrote a toolkit about our process. What did we learn?
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." It requires trading a certain history for an uncertain future--a nerve-wracking prospect no matter the situation. Fabulous!" "But This is incredibly scary.
In a straightforward way, Marilyn explains how her team developed a participatory project to improve engagement in a gallery with an awkward entry. Our colleagues in the Museum of Natural History were eager collaborators. This is a perfect example of a museum using participation as a design solution.
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