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offers personal insights in opening up to new ideas and letting go of information, hierarchy and "proprietary" thinking. Another point of intersection here for me is Henry Jenkins recently published 72-page white paper " Confronting the Challenges of Participatory Culture: Media Education for the 21st Century."
Last month, the Irvine Foundation put out a new report, Getting In On the Act , about participatory arts practice and new frameworks for audience engagement. I've often been asked about examples of participatory practice in theater, dance, and classical music, and this report is a great starting point.
He casts the whole idea of a great jazz jam in the context of the tragedy of the commons--like a poetry open mic, the jazz club is a community whose experience is fabulous or awful depending on the extent to the culture cultivates and enforces a healthy participatory process. These suffer from an excess of equality.
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.
When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. Museums see open-ended self-expression as the be-all of participatory experiences. You have to have an idea of what you’d like to say, and then you have to say it in a way that satisfies your expectations of quality.
When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. Museums see open-ended self-expression as the be-all of participatory experiences. You have to have an idea of what you’d like to say, and then you have to say it in a way that satisfies your expectations of quality.
A few weeks ago, the MAH Director of Community Programs, Stacey Garcia, came to me with an idea. 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. full description here , photos from the event here ).
What happens when a formal art museum invites a group of collaborative, participatoryartists to be in residence for a year? Will the artists ruin the museum with their plant vacations and coatroom concerts? Will the bureaucracy of the institution drown the artists in red tape? No, this is not a reality TV show.
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.
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. A strong participatory process is not a loosey-goosey, open the doors and do whatever strategy. design inclusion institutional change participatory museum'
Let's look at the statistics from three big participatory projects that wrapped up recently. This citywide festival showcased work by 1,517 artists competing for a $200,000 top cash prize awarded by public vote. 1,708 artists participated. An estimated 18,000 people attended, of which 4,929 nominated artists for the show.
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."
Over the past year, I've noticed a strange trend in the calls I receive about upcoming participatory museum projects: the majority of them are being planned for teen audiences. Why are teens over-represented in participatory projects? Is it a problem or a great starting point to focus on participatory experiences with teens?
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. I even have a couple ideas that you could work on without being here in Santa Cruz. Ever wanted to build a museum website from scratch?
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?
Wes is an artist, and this is his first time running a museum exhibition development process. This is the question I ask myself anytime I'm working on something with a participatory intent. The obvious start was to think about how we recruit the artists--using an open call to invite anyone, anywhere to participate.
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.
This week marks five years since the book The Participatory Museum was first released. Weekly, I hear from someone who is putting ideas from the book into action. I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. and "why?" to "how?".
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."
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.
Generative AI research Generative AI is creating a lot of excitement, and PAIR is involved in a range of related research, from using language models to simulate complex community behaviors to studying how artists adopted generative image models like Imagen and Parti. a gingerbread house in a forest in a cartoony style").
I will do what I can to ensure the blog continues to present well-written, diverse projects and ideas, both from me and guest authors. The best way I can really push my own participatory practice and thinking is to operate an institution and work with a community I care about over time. But I will not be going to zero. I promise.
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. Special Projects interns, who will do, well, whatever you want. Our internships have generally gotten more structured.
She is a fabulous and thoughtful artist. The same day we opened the Creativity Lounge, we opened new exhibitions throughout the building, including a paper collage show in the 3rd floor lobby by local artist Lisa Hochstein. Lisa and I have fundamentally different ideas of what a "good" museum experience is.
After several months of planning massively collaborative programs (a typical monthly event might involve 50 partners), we've realized that the people who are best at helping us come up with ideas are not necessarily the people who are best to help us execute them. In the end, we came back together to share our most promising ideas.
The Denver Art Museum is no stranger to community collaborations, but we’ve been dipping in our toe a little more deeply when it comes to developing permanent participatory installations. Community artists gave their honest feedback, and we crafted a display based on these discussions and their contributions.
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.
We''ve seen surprising and powerful results--visitors from different backgrounds getting to know each other, homeless people and museum volunteers working together, artists from different worlds building new collaborative projects. It''s a thoughtful and intriguing paper, and I encourage you to read it.
And so, one of the most successful, accidental, and fraught participatory projects of the past decade comes to an end. The "love locks" are not a project with an institutional or artistic director. So many participatory projects do the opposite, requiring you to take a dozen tricky steps to no meaningful end.
I came to her with an idea I called "Gut Sense." Experimonth can provide this generative experience for scientists, where the flexible interaction with participants allows for potentially new hypotheses and ideas to form. game guestpost participatory museum Unusual Projects and Influences' as a part of Experimonth: Race.
Curate an exhibit of paintings, photographs, sculptures or crafts by AAPI artists. Some ideas for potential speakers and honorees: Local AAPI elected officials, such as city council members or state representatives. Artists, writers, and cultural leaders. Displaying AAPI visual arts is another engaging activity.
Here, in no particular order, are the things that energized me most: "No idea is too ridiculous." I found this idea really powerful. In particular, we had a great group of 15 talking about participatory history experiences on Sunday. Participatory art and co-creation on the rise. I host dating games.
In a straightforward way, Marilyn explains how her team developed a participatory project to improve engagement in a gallery with an awkward entry. aspect of the Forum Gallery by motivating visitors to share their own ideas and interpretations of the artwork with other visitors in physical and virtual formats. Reassert the "forum"?
They designed a participatory project that delivers a compelling end product for onsite and online visitors… and they learned some unexpected lessons along the way. We invited a cross-section of artists, filmmakers, and advertisers to join us for a think tank. Projects participatory museum storytelling usercontent'
I found the article to be a clear starting point for thinking in a fresh way about how our museum can best intersect with schools and artists (and students, in our participatory setting) to develop strong programs. EMCArts put out a brief report from their recent study on how arts organizations deal with conflict around new ideas.
It’s not unusual for us to meet with an environmental activist, a balloon artist, a farmer, and the Mayor of Santa Cruz all in one day. When planning programs or events, we involve a combination of these groups to share and bridge audiences, bringing big, diverse crowds to new artists and ideas. Follow up with them later.
This exhibition is a big accomplishment for us because it incorporates multiple ways we push boundaries at the MAH: we co-designed it with 100+ community partners (C3) , including artists, foster youth, and youth advocates, with youth voices driving the project from big idea to install to programming. This big idea excited us all.
Click is an exhibition process in three parts: The Museum solicited photographs from artists via an open call on their website, Facebook group, Flickr groups, and outreach to Brooklyn-based arts organizations. All evaluations are private; all artists are unnamed. They are sensitive to the artists who are being judged.
My story is more a case of "Getting Hired: It's What You Want, How Aggressive You Are, and What Ideas You Can Offer." I had a healthy second life as a slam poet, and I loved the world of artists and performance. Part 3: It's What Ideas You Can Offer I started the Museum 2.0 It was exhausting, stressful work, and I loved it.
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." Most museums that offer interactive exhibits, media elements, or participatory activities offer them alongside traditional labels and interpretative tools. Fabulous!" "But
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. And yet she backs up the bromides with concrete ideas. Simon is a remarkable "get" for the museum.
I’ve been facilitating design labs for nonprofits and foundations, and continue to be excited about them because it is a way to generate feedback and ideas that can improve a strategy or program in service of the participants being served. In some ways, a design lab can be thought of as “participatory research and testing.”.
Why the Video Contest Worked Video contests are one of the most challenging kinds of participatory projects to pull off. I was disappointed that I didn't see any videos that played with data visualization or really pushed the idea of experimentation in the context of this opportunity. But what will you offer that museum staff don't?
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