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What if museums were curated and funded by the internet, and allowed pieces to stay close to their cultural roots, displayed in a context that made sense? Native art in native museums, religious artifacts shown in temples, mosques and churches, and so on? This idea evolved into having an on-chain Museum,” says McLeod.
What happens when a formal art museum invites a group of collaborative, participatory artists 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.
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.
Once upon a time, there was a beloved children’s museum in the middle of a thriving city. The brilliant team at the museum set out to find a bigger space and ran a successful capital campaign to expand to a much larger location. Like the set of the movie Night at the Museum , these guests had the whole museum to themselves.
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. Our colleagues in the Museum of Natural History were eager collaborators. It is great to feel more of a part of the museum!" "All
My colleague, Devon Smith, a self-described data nerd who loves benchmarking pointed out this glorious example from the museum world from Sean Redmond , a Web developer at the Guggenheim. The original data set was collected in a google spreadsheet , using a manual and time consuming data collection process.
When basketball players are offering more cogent commentary on racial issues than cultural institutions, you know we have a cultural relevance problem. Museums are a part of this educational and cultural network. Artists and arts organizations are contributing their spaces and their creative energies. Where do museums fit in?
Musical Instrument Museum. In that pursuit, I have worked for a range of nonprofit organizations focused on music, including an orchestra, a music education organization, and now the Musical Instrument Museum here in Phoenix. Maureen Baker , Manager for Individual Giving. Like this article?
This week, I''m celebrating three years on the job as the executive director of the Santa Cruz Museum of Art & History. This spring marked a big conceptual shift for me and the museum. Our Curator will lead the way in bringing together professional artists and non-artist participants in the development of powerful exhibitions.
TCG is the industry association for non-profit theaters, the way AAM is for museums. Given TCG''s multi-year Audience (R)evolution initiative, I took the opportunity to write a new talk about what revolution has looked like at our small museum in Santa Cruz. We heard again and again that the museum was cold and uncomfortable.
I think about how hesitant I was to become an artist, because I didn't see role models, and even to this day how hard it is for me sometimes to find peers who are women of color, because of how systematically they are pushed out. I'm an artist and an institution builder. The kind of art I do is art that gets engaged into the public.
If you think about what a museum curator does, it is very similar. The problem is our information consumption — we’re indulging too much at the buffet called the web. Content curation is the organizing, filtering and making sense of information on the web and sharing the very best content with your network.
This is one of those important problems we were talking about last week. There's the barrier of artistic quality--funders, trustees, or staff members who argue that work by non-canonical artists is not up to the standards of the institution. He got to see the museum process from the inside. You should read this report.
The "Magritte and Contemporary Art: The Treachery of Images" exhibit at the Los Angeles County Museum of Art manages to both celebrate and betray fair use at the same time. These are canonical fair uses -- an artist who takes from another artist and uses his work to make new work. It's really out of our hands.
This August/September, I am "rerunning" popular Museum 2.0 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. I''ve spent much of the past three years on the road giving workshops and talks about audience participation in museums.
They’re so much more than book museums. The library’s physical art gallery was converted to a digital one that continued to present the work of area artists. With foot traffic returning, the power problems (not enough outlets!) At DipJar, we love our customers. Public libraries are some of our favorites.
She is a fabulous and thoughtful artist. Two weeks ago, we inaugurated a Creativity Lounge on the third floor of our museum. 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.
This kind of research has two big problems: It puts most of our assessment capacity into research for someone else, on someone else''s terms. The study was extensive and methodologically robust, and the results are making the rounds of museum and art publications and blogs. She didn''t need data to believe in the value of museums.
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.
Already, the website has a wide variety of users like the Museum of Modern Art , comedy host Alexis Gay , the Abolitionist Teaching Network , activist Nupol Kiazolu , and a Malaysian virtual dance club. But Yang thinks that the crypto world has a communications problem.
When you find a bar with your favorite song on the jukebox, or a museum room that feels like your grandmother's living room, you suddenly feel a strong affinity and are able to see yourself reflected in the space. Of course, the problem with all of this is that it sounds crazy from a business perspective.
Last month, MAH curator Susan Hillhouse and I sat down and wrote an exhibition philosophy for our museum. In particular, we want exhibition collaborators--artists, researchers, historians, collectors--to understand our goals and how we intend to steer the exhibition development process.
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?
An emergency campaign can help you raise the money you need to effectively deal with the problems at hand. Make sure to advertise your artists and makers on your social media platforms leading up to the opening of your shop with photos and videos. Virtual tours for museums. Student art show. Design challenge.
Rather than another potential recipe for information overload, content curation can actually be a method to tackle this problem. If you think about what a museum curator does, it is very similar. The problem is our information consumption —we’re indulging too much at the buffet called the web. What is content curation exactly?
In addition to being the co-founder of the Global Center for Cultural Entrepreneurship, he is the Executive Director of the Museum of New Mexico Foundation. Since moving to Santa Fe, he has developed New Mexico Creates , an economic development initiative that creates market links for New Mexico artists and artisans.
The conventional wisdom on museum memberships is that they are "one size fits many" programs whose primary benefits are free entrance to the museum and insider access to exhibition openings. But what about all the other people who love your museum? Want to know how the Brooklyn Museum is answering this question?
A group of individuals has more knowledge for solving a problem than any single individual. Brooklyn Museum implemented a crowdsourced photography exhibit experiment called “ Click! Here’s an overview of the different types and some examples for each in philanthropy and doing. (1) A Crowd-Curated Exhibition.”
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.
Pin masterpieces from the budding artists in your arts classes. If you're a museum, zoo, or aquarium: 19. To pull this off well you'll want to print up some effective signage to orient people to what Pinterest is about and how the museum is using it. Collect images that demonastrate the problem your are trying to solve.
Submitted by Nina Simon, publisher of Museum 2.0. I’ve had it with museums’ obsession with open-ended self-expression. And yet many museums are fixated on creators. Museums see open-ended self-expression as the be-all of participatory experiences. This is a problem for two reasons.
I’ve had it with museums’ obsession with open-ended self-expression. And yet many museums are fixated on creators. Museums see open-ended self-expression as the be-all of participatory experiences. This is a problem for two reasons. These are all active social endeavors that contribute positive value to the social Web.
Last week marked four years for the Museum 2.0 People--especially young folks looking to break into the museum business--often ask me how I got here. Ed Rodley recently wrote a blog post about museum jobs entitled "Getting Hired: It's Who You Know and Who Knows You." hour at the Museum. I made $26/hour at NASA and $7.25/hour
Here is an example of an artistic program or creative process undertaken as a crowd and it isn't a cheap publicity stunt. In the traditional way, a music critic would attend the performance and publish a review. A group of individuals has more knowledge to solve a problem than a single individual. How do you evaluate this?
Despite the long hours and creative details that their designs entail, the creations of Méndez and other artists in the community often go underappreciated. In addition to the challenges of determining who represents the communities, there is the problem of using the term “cultural heritage” to define what is being protected.
Last week, I was in Minneapolis for the American Association of Museums annual meeting. Kathleen McLean led a terrific session called "Dangerous Ridiculous" about risk-taking in museums. Interestingly, at my museum, our team is naturally better at ridiculous than we are at dangerous. I found this idea really powerful.
Ready for a math problem? A museum holds a free program in a semi-public space. Last weekend, my museum did a little pilot of a new program, Downward Draw. We held a free yoga class in the plaza outside the museum and invited artists to come and draw/paint the yoga-doers in motion. How many people participated?
No, these are neither the words of a self-important curator nor a well-spoken museum director. the crowd-curated photo exhibition now open at the Brooklyn Museum of Art. It is a substantive research contribution by the museum to the social technology field at large. Things like this are far and few between.
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've spent much of the past three years on the road giving workshops and talks about audience participation in museums. The Museum 2.0 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.
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.
I was discussing this with a colleague last week when I realized: I am part of the problem. Below are two excellent e-books put out by the National Arts Marketing Project, one on artistic interventions in uncommon places , and one on taking a leap of faith with "weird" programming. Each of us is a connector to new work and new worlds.
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?
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