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A few years and a few hundred open mics into that experience, it became obvious that some venues fostered amazing poetry communities, others, not so much. One of my favorite open mics was at the Cantab in Cambridge, MA. Compare that with any number of lousy open mics. The process is incredibly open and equal.
The concept of openness. offers personal insights in opening up to new ideas and letting go of information, hierarchy and "proprietary" thinking. A participatory culture is also one in which members believe their contributions matter, and feel some degree of social connection to one another. vlogging, and podcasting).
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. This report is not an end-all; it is the opening for a conversation. Excellent case studies, especially from the performing arts sector.
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. So many museum exhibitions relegate the participatory bits in at the end.
I spent last week working with staff at the Minneapolis Institute of Art (MIA) on ways to make this encyclopedic art museum more open to visitor participation across programs, exhibitions, and events. While there, I was lucky to get to experience a highly participatory exhibition that the MIA mounts once a decade: Foot in the Door.
This question is a byproduct of the reality that most participatory projects have poorly articulated value. When a participatory activity is designed without a goal in mind, you end up with a bunch of undervalued stuff and nowhere to put it. The project never gets "full" and is always open to new contributors.
I’ve had it with museums’ obsession with open-ended self-expression. 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. Submitted by Nina Simon, publisher of Museum 2.0.
I’ve had it with museums’ obsession with open-ended self-expression. 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. Tags: design participatory museum usercontent.
I've long admired this museum for its all-encompassing commitment to community co-creation , and the visit was a kind of pilgrimage to their new site (opened in 2008). It incorporates work by local artists, old and new construction, and is completely gorgeous. But participatory facilitation can be taught.
With all these options, we wanted to look back and highlight some of the Issue Lab community’s most popular publications in 2022, featuring a wide array of topics ranging from education to participatory grantmaking and beyond. Expanding Equity: Inclusion & Belonging Guidebook , by the W.K.
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.
The creative process of making films is opening up and the outreach efforts to spark social change through documentary media are becoming much more dynamic and collaborative. Note From Beth: Yesterday, I attended a convening called “ Beyond Dynamic Adaptability ” for arts organizations about cultural participation in the arts.
To that end, our exhibitions are full of participatory elements. Community members, artists, and organizations increasingly see our museum as a place where they can advance their own goals, and so they approach us. It happens because people see an opening where there wasn't one before. The magic isn't by design.
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 don''t just invite participation by opening the doors. A strong participatory process is not a loosey-goosey, open the doors and do whatever strategy.
This is the last of the guest posts offered during this fall season, and it dovetails with last week''s post about opening up collections access nicely. 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.
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.
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. The Brooklyn Museum just finished the public stage of GO , a "community-curated open studio project." Full stats here.
Film festival openings. 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. This one is wide open. Board committee meetings. Historical landmark ceremonies. Late night programming.
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. Different activities need different levels of materials to appear "open for business." We throw those away.
The more open, the more agency. Negotiation" implies a respectful relationship between institution (or artist) and user. Sometimes the negotiation can be exploited for artistic means. The theater is dark and the artist breaks the fourth wall and asks for conversation. Both games have rules. Patrons clap between movements.
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."
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.
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. Kudos to Lisa for being open to a thoughtful dialogue about these issues.
People use it to share surprises in the archives, inspiring meetings with artists, dead birds in the lobby, and free food in the fridge. Here are a few things I''m learning from this experiment: Promoting openness and participation on staff takes just as much work as it does in the community. Technology Tools Worth Checking Out web2.0
Engagement with local artists. One of the things we love about exhibiting local artists is that they are often here to talk with visitors about their work. It's not unusual to see an artist showing a visitor how she constructed something or created an effect. We do have friendly gallery hosts, but not every hour of the day.
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."
The DAM is one of several large art museums that is embracing making in a big way—first, through their event-based programming and open art studios tied to temporary exhibitions, and now, through a 1,200 square foot studio in which visitors can do art projects tied to the permanent collection. They’re tagging with yarn.
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?
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."
It happened because we: partnered with local artists and community organizations whose passion and generosity made it possible for us to create incredible events. We have increased to being open late every Friday, but we will continue to only have big events (500+ visitors) on the 1st and 3rd Fridays.
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 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 exhibition evolved after it opened. Short story: we learned a lot. What did we learn?
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? Aren't art museums less open to participation than other kinds of museums?" I was surprised by her question.
It was terrific to have a packed room and a long, open conversation (we split the session into half presenting, half audience discussion) about these issues. 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.
We have five open positions in Community Programs and one in Exhibitions. 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. Participatory Performing Artist-in-Residence program.
Curate an exhibit of paintings, photographs, sculptures or crafts by AAPI artists. Artists, writers, and cultural leaders. So, as you’re diving into planning your AAPI Heritage Month events, let’s approach it with open hearts and creative minds. Be sure to recruit knowledgeable facilitators. Their insights enlighten attendees.
In a straightforward way, Marilyn explains how her team developed a participatory project to improve engagement in a gallery with an awkward entry. Smartphone images didn't read well given the limitations of screen size and the legibility of the artists' writings and drawings.
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.
I am just starting to dive into the science of intergroup relations (psychology-speak for social bridging), and I greatly appreciate these individuals who are working to popularize and open up what could otherwise be esoteric research. I realize that I may sound like a college freshman who just discovered Psych 101, but heck.
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.
This month, we opened a new exhibition at the MAH, Lost Childhoods: Voices of Santa Cruz County Foster Youth and Foster Youth Museum (brief video clip from opening night here ). Then, we worked with one of the commissioned exhibition artists, Melody Overstreet, to create an artwork that weaves all these little things into one tapestry.
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. I''m open to any questions you want to share in the comments. Participatory work can be very labor-intensive.
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. Large and small (or no) followings.
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