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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.
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.
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.
To that end, our exhibitions are full of participatory elements. We actively seek participation and develop structured opportunities for visitors to collaborate with us. Community members, artists, and organizations increasingly see our museum as a place where they can advance their own goals, and so they approach us.
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."
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. Our internships have generally gotten more structured.
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."
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'
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
We had about thirty participants ranging from MAH trustees to artists, educators to architects, moms to grandfathers. 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. It was an evening meeting with beer and chips.
They designed a participatory project that delivers a compelling end product for onsite and online visitors… and they made some unexpected decisions along the way. We invited a cross-section of artists, filmmakers, and advertisers to join us for a think tank. How and why did Object Stories come to be? So what did you do next?
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. What would the structure be like? What about content?
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.
First, we realized that our museum is different from other museums, but our benefits and membership structure were the same as others. In some cases, the artist is not comfortable, or there are insurance and liability issues. How did this project start? It started over a year ago, with a couple of moments of insight.
The VSA has replaced their keynotes with structured group dialogue. But the VSA has taken an intentional approach to these structured conversations with the goal of putting the (arguably) best part of conferences—the side conversations and hallway discussions—front and center. My first reaction was skepticism.
In some ways, a design lab can be thought of as “participatory research and testing.”. 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.
Visitor Co-Created Museum Experiences This session was a dream for me, one that brought together instigators of three participatory exhibit projects: MN150 (Kate Roberts), Click! which followed a very strict formula that frustrated some participants who wanted to be treated like artists, not contributors to a data experiment.
Our job was to provide a structured environment in which to develop ideas and the expertise to build the best of them. 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.
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.
When we talk about making museums or performing arts organizations more participatory and dynamic, those changes are often seen as threatening to the traditional arts experience. What if historic arts experiences were actually a lot more participatory? But what if the "traditional" arts experiences is a myth?
The World Beach Project is managed by the Victoria and Albert Museum in London with artist-in-residence Sue Lawty. Many museums do not provide participants with clear terms surrounding their submissions, and for savvy people (especially artists!) In their personal statements, beach artists wrote about profound connections to nature.
When asked why these artistic directors were pursuing co-creative processes, "to make great art!" Respondents also talked about growing as artists through the process and the incredible things they learned from working with non-professionals. When an institution becomes wholly participatory, those distinctions often erode.
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