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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 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. We developed and prototyped everything in-house with staff and interns.
This question is a byproduct of the reality that most participatory projects have poorly articulated value. If you don't have a sense of an outcome--whether that be internal research, community conversation, or something else--you can't decide how or whether contributions should be documented or archived. That's hardly revolutionary.
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.
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.
Stacey Marie Garcia came to the MAH first as a graduate intern in the summer of 2011. Visitors bond and bridge through participatory experiences at MAH. For example, the MAH’s Poetry and Book Arts Extravaganza event partnered with Book Arts Santa Cruz and Poetry Santa Cruz to collaborate with 61 talented book artists and poets.
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.
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.
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."
Photo by CLoé Zarifian, MAH Photo Intern We're working with a guest curator, Wes Modes , on an upcoming experimental project at our museum. 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.
I'm personally most excited about the two types of interns who will be reporting to me: Community Research interns, who will start developing a methodology for us to use to understand how people in Santa Cruz connect with arts and culture experiences and what role the museum can play in satisfying their interests.
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.
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."
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. Note: Thanks to Lisa Hochstein for allowing me to quote her emails in this post.
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.
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. Check out the descriptions and how to apply here , and learn more about the MAH intern experience on their blog here.
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. I also believe that small and mid-sized museums are the leaders when it comes to innovation, particularly around participatory engagement. We'll need interns. We'll need advice.
Why the Video Contest Worked Video contests are one of the most challenging kinds of participatory projects to pull off. MSI did three things that most organizations don't or can't do when they set up a video contest: They got a TON of local, national, and international press. Museum staffers.
We had about thirty participants ranging from MAH trustees to artists, educators to architects, moms to grandfathers. We also had interns recording during the honeycomb exercise. There's useful energy that arises when you put a teacher, a techie, a mom, and an artist in a group and ask them to work together.
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.” inclusion'
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. The internal team is led by a non-curator.
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. where she worked at the International Spy Museum. "We We painted a big map of the western U.S.
We''re offering internships this summer in: Participatory Exhibition Design. Help take the participatory elements of this permanent gallery to the finish line. Curious how we develop participatory family festivals with 20-100 collaborators every month. We''ve also been expanding paid opportunities for local artists.
It's not the extent to which they are participatory. I see three significant internal reasons for homogenization in museums: As money gets tight, museums look for exhibits, program strategies, and revenue streams that are "proven" by other institutions' successes, rather than charting their own potentially risky path.
While much of the branding and design inspiration we run across is either from consumer brands or individual artists, it all provides us with the opportunity to discover new principles, practices, and approaches that we can incorporate into our nuanced nonprofit world.
I had a healthy second life as a slam poet, and I loved the world of artists and performance. In 2004, Anna was the Director of Exhibitions and Programs at the International Spy Museum. I met lovely people in engineering, but I found the work to be too detail-oriented and microscopic in scope to satisfy me.
Working with creative people taught me to think like an artist: observe, explore, dive in, look out. OUTSIDE IN Before the Abbott Square project, I approached planning from an internally-driven perspective. The “we” isn’t always staff; in most cases, our staff work with community partners in a participatory, co-creative model.
Here’s what happened: an art critic named Jerry Saltz posted an incendiary note on Facebook about the very low representation of women artists on the 4th and 5th floors (painting and sculpture) of MoMA. When those spaces are factored in, there are more than 250 works by female artists on view now. Let’s start there.
For example, in Santa Cruz there is a huge community of creative people who identify as artists in non-traditional media. That’s why we partner with fire sculptors, knitters, graffiti artists, and bonsai growers. They are artists whose experience deserves a home in our institution alongside painters, photographers, and sculptors.
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. We lacked this staff member, and made up for it with a group of wonderful volunteers and an amazing intern, Sarah Cole.
We began with a series of internal meetings to evaluate our current visitor experience and set a goal for the project. Send in your question, and it can be days before the artist or curator responds with an answer. ASK is part of an overall effort to rethink the museum visitor experience. ASK is much more real-time.
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. The internal team is led by a non-curator. They are sensitive to the artists who are being judged.
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. When we have events, it's fabulous, but other times it can feel a bit cavernous and dead.
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.
People use it to share surprises in the archives, inspiring meetings with artists, dead birds in the lobby, and free food in the fridge. Sometimes, I look at the internal Facebook group and I think, "this is what our regular Facebook page should look like. participatory museum professional development'
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.
What’s interesting is that half of YC’s investments now are international. So the meeting has become more participatory. But in the meantime, I’m actually seeing in the startup world, and especially in the international startup community, more mission-driven founders, not less. I don’t think the disrupting task isn’t done yet.
Last week, the international press lit up with a story from Paris : the city is removing the "love locks" from the Pont des Arts bridge. 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.
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. Participatory work can be very labor-intensive. Three years later, we''re out of turnaround and into growth mode.
They were there for artist talks. Temple Contemporary’s mission is to creatively re-imagine the social function of art through questions of local relevance and international significance. The chairs were cast-off art, reclaimed as art, available for people to take off the hooks and use. They were there for project brainstorming.
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