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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.
In 2009 , students built a participatory exhibit from scratch. Thirteen students produced three projects that layered participatory activities onto an exhibition of artwork from the permanent collection of the Henry Art Gallery. This year, we took a different approach. You can explore the projects in full on the class wiki.
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. But what if the "traditional" arts experiences is a myth? What if historic arts experiences were actually a lot more participatory?
Two years ago, we mounted one of our most successful participatory exhibits ever at the Santa Cruz Museum of Art & History: Memory Jars. There were no written instructions, just a mural that suggested what to do and labels that prompted people for their name and memory. He creates a visual representation of his story.
Our new guide provides helpful and instructive case studies to illustrate how other funders have taken such steps. . For example, the guide shares how savvy education funders are considering the impact of learning loss on students who every year miss more and more days of instruction due to the climate crisis.
In the spirit of a popular post written earlier this year , I want to share the behind the scenes on our current almost-museumwide exhibition at the Santa Cruz Museum of Art & History, Santa Cruz Collects. This exhibition represents a few big shifts for us: We used a more participatory design process. We had some money.
I met Janet Salmons many years ago while I working on various arts and technology projects in New York State for the New York Foundation for the Arts. I started in the Cornell University Center for Theatre Arts , where I founded and directed two programs: Cornell Theatre Outreach and the Community-Based Arts Project.
The Leading Change Summit was more intimate (several hundred people), participatory and interactive, intense, and stimulating. Good instructional design to create an environment for peer dialogue begins with good on boarding and for people to connect with something they already know or believe.
I hope to share some simple and fun ways to create "shoulder-to-shoulder" instructional media for the panel on Screencasting at NTC I'm doing. How do you create good instructional media in a reasonable amount of time and do a good enough job that helps people learn something by viewing it? and follow the instructions.
Working with arts organizations there are often concern that your constituent stories aren’t as impactful. million likes surely someone touting the effect of music and art on their lives can get just as many. Participatory fundraising often starts with events that allow people to get involved causally with a small time commitment.
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"?
My style of teaching is participatory; I don’t lecture with PPT endlessly and involve the audience. I modify instructions or make accommodations for physical disabilities. I made this part of the instructions. Training is better when you content and instruction is as inclusive as possible.
Earlier in 2013, I was amazed to visit one of the new “Studio” spaces at the Denver Art Museum. The Denver Art Museum is no stranger to community collaborations, but we’ve been dipping in our toe a little more deeply when it comes to developing permanent participatory installations.
George is a stranger I met last week at SFMOMA’s new show, The Art of Participation:1950 to Now. The Art of Participation provides a retrospective on participatoryart as well as presenting opportunities for visitors to engage in contemporary (“now”) works. Here are two pictures. The first one is me. DO message clearly.
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. SETUP Cut your instructions down to as little text as possible. This isn't even participatory.
You have to care before you want to act, and caring--about the earth, about civil rights, about art--is not a given. When I visited the exhibition in November, I saw many participatory opportunities for visitors to act. There was no specific instruction with the dots.
I’ve long admired Improv Everywhere , the NYC-based participatory public art group. The MP3 experiment is an exercise in following instructions. He explains that you will have to follow his instructions to have “the most pleasant afternoon together.” He’s not your friend, but he likes you.
I spent some time playing with this question last week at the Milwaukee Art Museum, a large general museum that is moving toward redesign of the permanent galleries. This might sound unlikely, but with the right instruction set and a kind of game piece or card to use as a prompt, I think it could work. Do you interrogate the map?
It is always challenge to use participatory techniques when your participants are not native English speakers and you don’t speak the language. I thought I’d share a few quick insights and tips that I learned for others who may be preparing for doing tech training internationally and want to use participatory techniques.
This week, the Denver Art Museum (DAM) opened a new temporary exhibition called The Psychedelic Experience , featuring rock posters from San Francisco in the heyday of Bill Graham and electric kool-aid. It’s a thrilling challenge to the traditional form of art museum exhibit design, and better yet, visitors like it.
It launched in October of 2007 with a very simple and understandable idea: to produce a global map of pieces of art made with stones on beaches. The act of making art, and the recognition on a simple website, are the only rewards. The World Beach Project does not exist in the V&A Museum. It's not marketing hype. The ask is clear.
I would love to develop more indepth training workshop or webinar on this topic, geared more for nonprofits and participatory campaigns, perhaps incorporating the Creative Commons Open Content Game. Youth trying to learn new art mediums, they often incorrectly use copyrighted works.they create a derivative work.a
I've written before about techniques for talking to strangers, looking at how buttons , buses , and dogs and can all be tools for participatory design. I used that instruction recently to kick off a meeting at a museum planning a participatory education space. There was a self-aggregating group who toured an art exhibition.
On 8.16.08, the Museum of Art and History (Santa Cruz, CA) hosted FreelanceCamp, a free unconference that brought 150 designers and techies from the south bay area together to talk shop. Talk to the folks at Instructables. Projects participatory museum. Other person: Nope. Me: Me neither. marketing Museums Engaging in 2.0
Yesterday, I spent a day facilitating leadership workshops for arts leaders attending the Art House Convergence Conference near Park City, Utah. Classroom style with desks puts a barrier between the students and the instruction, especially when people are using laptops or tablets to take notes.
Whether you are facilitating a session with your board, staff, or hundreds of folks in a room, you’ll find ways to design instructional content that interests, engages, and inspires action. Instructional Design. How To Think Like An Instructional Designer for Your Nonprofit Training. The Art of Good Closers. Design Labs.
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.
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