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A Shared and Flexible Understanding of Impact As practitioners of and advocates for participatory philanthropy, we believe there’s a better way. Like many other activities in participatory philanthropy, this approach considers the process to be as important as the outcomes. It promotes mutuality instead of extraction.
As of May 2, I will be the executive director of the Museum of Art & History at McPherson Center in Santa Cruz, CA (here's the press release ). Because of the increased workload I expect in the months to come, as well as the likely possibility that we will start a Museum of Art & History blog, I'm lowering my Museum 2.0
Today is my one-year anniversary as the executive director of the Santa Cruz Museum of Art & History. We went through a dramatic financial turnaround and redefined our relationship with our community through a series of experimental participatory projects and new programmatic approaches.
Note From Beth: Yesterday, I attended a convening called “ Beyond Dynamic Adaptability ” for arts organizations about cultural participation in the arts. Vincent Stehle is a regular columnist for The Chronicle of Philanthropy and a member of the Board of Directors of Grantmakers in Film and Electronic Media.
It is an art form completely dependent upon the creative potential of each audience member in relation to the events on stage. Over a month ago I told Emily from the Nonprofit Blog Exchange that I would participate in the most recent exchange and write about The Artful Manager. art social media social web web net2 nptech
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? Here are three of my favorites.
A few weeks ago, the MAH Director of Community Programs, Stacey Garcia, came to me with an idea. This past Friday, we experimented with a new feedback format at an evening event focused on poetry and book arts. The events are informal, personal, and fun, but our feedback mechanism--onsite and post-event surveys--not so much.
Scene: a regional workshop on arts engagement. A funder is speaking with conviction about the fact that her foundation is focusing their arts grantmaking strategy on engagement. Engaging people actively in the arts. One, from a museum director. PARTICIPATORY: can people get involved or contribute to it?
I’d never attended before and was impressed by many very smart, international people doing radical projects to make museum collections and experiences accessible and participatory online. Are participatory activities happening on the web because that is the best place for them? Instead, I found a standard art museum.
I''m glad to see coverage about art museums involving visitors in exhibitions. There are many curator and museum director voices in the article, but not a single quote from a visitor who engaged in one of these community projects. The metaphor for traditional art museums is the temple. Projects participatory museum'
Deciding Together Shifting Power and Resources Through Participatory Grantmaking. Empowering Communities: Participatory Grantmakers Say We Must Go beyond Feedback. Why more and more executive directors of color are leaving their positions, and what we need to do about it. Community-based participatory research.
Home About Me Subscribe Zen and the Art of Nonprofit Technology Thoughtful and sometimes snarky perspectives on nonprofit technology IP Tidbits August 18, 2005 Here are a few tidbits I’ve come across in the Intellectual Property arena in the past few days. This is very cool. It’s definitely a thing to watch.
Visitors bond and bridge through participatory experiences at MAH. There were times when coordinating a fire art festival while researching social capital theory made me want to burn my computer. I learn a ton from her every day and wanted to share her thinking--and her graduate thesis--with you.
The plan for the next year is: Train and develop 12 leaders from the MENA region (4 Strategic Advisors, 4 Country Directors/Master Trainers and 4 Training Coordinators) = In-Country Leadership Teams. Deliver targeted, cutting-edge social media training and coaching to 150 – 250 NGOs and CSOs in 15+ communities.
I'm thrilled to share this brilliant guest post by Marilyn Russell, Curator of Education at the Carnegie Museum of Art. In a straightforward way, Marilyn explains how her team developed a participatory project to improve engagement in a gallery with an awkward entry. Reassert the "forum"?
On September 10, the Whitney Museum of American Art started offering a new membership called "Curate Your Own," in which members select one of five specialized "buckets" of benefits in addition to core admission and discount benefits. People want to experience art in quite individual ways. How did this project start?
Today, we want to introduce you to Leah Horn , Director of Marketing and Communications at the Western States Arts Federation (WESTAF). WESTAF''s mission is to strengthen the financial, organizational, and policy infrastructure of the arts in the West. What is your organization''s mission?
Last week, Dr. Louise Govier posed this provocative question in an excellent paper on co-creation in the arts: Leaders in co-creation? Why and how museums could develop their co-creative practice with the public, building on ideas from the performing arts and other non-museum organisations (free to download).
I've now been the Director of The Museum of Art & History in Santa Cruz for two months. When Nina Simon became the MAH's new executive director in May, one of her first unilateral actions was to cover up the no sign. Lots more on this in the months to come, but I thought you might like to read the article.
Our work to transform the Santa Cruz Museum of Art & History into a participatory and community-centered place has been heavily supported by the James Irvine Foundation. The report is a slim 12 pages on the common characteristics of arts organizations that successfully and continuously engage diverse audiences.
I am the director of a non-profit that promotes open museum practices, and we are in midst of launching a free service for arts organizations: a web site that permits any museum to create a participatory exhibit space and social network centered on the museum's collections.
George Scheer is the director and co-founder of Elsewhere Collective, a fascinating "living museum" in a former thrift store in Greensboro, NC. Proposals involve sculpture, performance, participatory-projects, videos, and installation that use and respond to the museum’s collection. Restoration is a formal gesture for most museums.
We've gotten a little more organized at The Museum of Art & History , and we've now released opportunities for summer internships. This could be a serious research opportunity for someone interested in impact assessment, community attitudes towards the arts, and the role museums can play in transforming communities.
Home About Me Subscribe Zen and the Art of Nonprofit Technology Thoughtful and sometimes snarky perspectives on nonprofit technology Gender, Race and Open Source June 29, 2007 My session on Free and Open Source software and the US Social Forum went great yesterday.
I was talking this week with Mark Allen, the founder of Machine Project (an alternative arts space in LA), about different models for community engagement in cultural institutions. For example, consider two independent arts organizations in Los Angeles -- Machine Project and The Public School.
Our curator writes labels about licking the art. This was a topic I was never interested in before I became a director. Merilee Mostov and the Columbus Museum of Art. In particular, we had a great group of 15 talking about participatory history experiences on Sunday. Participatoryart and co-creation on the rise.
The Arts Dinner-vention Project - date TBD. This one was cooked up by Barry Hessenius, former director of the California Arts Council and public art blogger extraordinaire. Barry is asking the universe to send him names of "unheralded arts sector leaders" to be considered for an all-star dinner party in 2013.
Schools and other arts organizations are rising to the challenge. 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.”
One that has found remarkable success is California’s Santa Cruz Museum of Art & History. Executive Director Nina Simon, who was hired in 2011, says that in the years following the global financial crisis, the facility was struggling. “At The plaza serves as a kind of front porch to the museum, ushering visitors old and new. “I
We are hiring for a School Programs Coordinator to wrangle the 3,500+ students and their teachers who come to the museum every year for a tour and hands-on experience in our art and history exhibitions. Museum of Art and History Quick Hits professional development' Most school tours are for intact groups—a single class or grade.
What happens when a formal art museum invites a group of collaborative, participatory artists to be in residence for a year? But for museum and art wonks, it could be. Several artists offer surprising insights into making participatory projects appealing to visitors. No, this is not a reality TV show.
For the past five years, each summer, the Santa Cruz Museum of Art & History has hosted MuseumCamp. This bootcamp will be led by me, Nina Simon, MAH executive director. Develop compelling, powerful participatory offers and promises for your prospective partners. Registration is first come, first served.
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. Short story: we learned a lot. We wrote a toolkit about our process. What did we learn?
In the first edition of this partnership, I interviewed Erin O'Connor Jones , the Director of Candidate Services and Managing Associate at Nonprofit Professionals Advisory Group. Interesting WorldChanging post, Just Launched: Journal of Participatory Medicine. Early registration deadline is Nov. nonprofit (valued up to $75,000 ).
Most participatory projects were short-term, siloed innovations, not institutional transformations. Five years later, project director Dr. Piotr Bienkowski's final report for Our Museum tells a different story. Disruption can be confusing, destabilizing, and potentially derailing, no matter the focus of the transformation at hand.
Way better than that video at Museum X where the director drones on about the new initiatives of the year. I LOVE the way the James Irvine Foundation presents their lessons learned from grant-making in the Arts Innovation Fund program. This is just a super-interesting review of an exhibition of damaged art.
I had just started at the MAH as the new executive director. Priya Parker's wonderful book The Art of Gathering shares the core principles of how to drive. Here are my three big takeaways from The Art of Gathering : Hosting is an exercise in courageous leadership. I remember the first staff meeting I ever ran.
Last week, I talked with Tina Olsen, Director of Education and Public Programs at the Portland Art Museum, about their extraordinary Object Stories project. 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.
It made me dig up this 2011 interview with Tina Olsen (then at the Portland Art Museum) about their extraordinary Object Stories project. 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. That required more space.
The majority of our public programs at the Santa Cruz Museum of Art & History are created and produced through community collaborations. For our Art That Moves event, our Membership and Development Director suggested the incredibly popular Tarp Surfing activity. Can't wait to hear what you think.
You''re in for a treat, with upcoming posts on creativity, collections management, elitism, science play, permanent participatory galleries, partnering with underserved teens, magic vests, and more. I''m equally amazed when a comment comes in from a MAH member as I am when one comes in from an Australian opera director.
I've written before about the inspiring work that the Brooklyn Museum of Art is doing with their community-focused efforts. 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.
The Digital Media and Learning Conference is meant to be an inclusive, international and annual gathering of scholars and practitioners in the field, focused on fostering interdisciplinary and participatory dialogue and linking theory, empirical study, policy, and practice. National Arts Marketing Project Conference. Oct 19 - 20.
The kind of strategic planning processes that I lead are inclusive and participatory which means that the group is consulted, the vision of the group, the energy, we kind of tap into the energy, vision, knowledge, experience of the people who will be doing the work in order to make plans. Where are we not putting our energy? ” Okay.
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