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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.
Source: National Arts Index It's at times like these -- in the midst of an extended recession and the wake of the tragedy in Haiti -- that the role of funding arts in society may be called into question. After all, funding for the arts (theater, dance, music, museums etc.) Perli Ni is the CEO of GreatNonprofits.
I feel strongly that there are huge issues with racial and ethnic diversity in museums and arts organizations that deserve a million more posts. One was a conference on pushing our practice in artmuseums. In library- and museum-land, the participants were 80-90% women. This is a problem.
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. We decided to select 12 individual works of art from the exhibition, reproduce them as 2.5 Reassert the "forum"?
online exhibit developed by the Maxwell Museum of Anthropology at the University of New Mexico and Ideum. I picked up the phone and got a hold of Jim Spadaccini, founder of Ideum, whose blog post I discovered via a discussion thread on flickr and museums on the museum technology list. Nina Simon from the Museums and Web2.0
The speakers for this panel include: Tracy Fullerton – Electronics Arts Game Innovation Lab. Ruth Cohen – American Museum of natural History. Jason Eppink – Museum of the Moving Image. Ruth Cohen – American Museum of natural History. Jason Eppink – Museum of the Moving Image.
Research and assessment is rare in the arts, and it tends to focus on "proving" our value. Studies of how arts participation affects student test scores. 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. Economic impact studies.
Photo Source: Indianapolis Museum of Art Blog. The Indianapolis ArtMuseum has been doing just that by sharing its institutional dashboard out for everyone to view. It was met by with both positive and negative reactions from nonprofit and museum professionals. Two years later, we might have some answers.
As someone who spent half her career working for and with arts organizations this news makes me sad: A report yesterday from the USAToday that quotes Bob Lynch , the President of Americans for the Arts estimating that 10,000 arts organizations will close this year, 10% of the total number.
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. Schools and other arts organizations are rising to the challenge. Where do museums fit in?
Want to experience art in a populist, energized, industrial/urban setting? Artprize , now in its second year, is a city-wide art festival with a $250,000 top prize to be awarded to the work that receives the most public votes. Now, after attending with museum friends from around the country, I'm hooked. Want to talk about it?
This morning, I checked in on the Pocket Museums on our museum's ground floor. After I took down all the "kick me" and "kick it" post-its covering the Pocket Museum title label in the men's room, I realized that this is the perfect example of an A-to-B test for gendered response to a participatory museum experience.
Last week''s New York Times special section on museums featured a lead article by David Gelles on Wooing a New Generation of Museum Patrons. In the article, David discussed ways that several large artmuseums are working to attract major donors and board members in their 30s and 40s.
This week, the National Committee for Responsive Philanthropy released a new paper by Holly Sidford called Fusing Arts, Culture, and Social Change. This is one of those important problems we were talking about last week. This has obvious negative implications when it comes to issues of social justice and representation in the arts.
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. We are now squarely out of turnaround and into growth mode.
According this post by Gina Trapani , many geeks think QR codes are gimmicky , clumsy , not used well or enough , or that they’re “ a solution looking for a problem. QR codes are popping up in school lesson plans, like this arts lesson plan. QR Codes: fab or a fad for Museums?
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.
The San Francisco Museum of Art recently launched an ingenious bot called “Send Me” that allows anyone to send a simple text message and receive a picture of a piece of art matching the idea, words, or phrase texted. According to the Mollica, that is more art than is currently on display.
Forum One partnered with the Museum on a full website redesign and upgrade, to welcome more diverse audiences and provide a space to discover our shared American history through a modern, inclusive, and forward-looking digital experience. Endowed by Dr. Ruth J. The post Forum One Honored With 11 Vega Awards appeared first on Forum One.
Musical Instrument Museum. I grew up in a musical family, was fortunate enough to attend schools with excellent arts programs, majored in music in college, and still perform frequently today. Maureen Baker , Manager for Individual Giving.
What happens when a formal artmuseum 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? But for museum and art wonks, it could be. No, this is not a reality TV show.
The understanding won’t be deep – they may need to look at past trends to fully understand anything they are seeing on the dashboard – but they can very quickly get a sense of how well the organization is functioning and if any problems are emerging. The Indianapolis Museum of Art’s dashboard is an oft-cited example.
ska, an art historian interested in museums, education, and new technologies. She has created educational mobile apps for teaching art history and is the organizer of the Polish edition of Free Arts Day. In this article, I will describe a few of the basic problems related with creating mobile applications.
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.
A problem or conflict in a story naturally builds a case for giving. Conflict demonstrates a clear problem that donors can solve by making a donation. But what about arts organizations or museums? Or maybe there was a child who would have never otherwise encountered the arts. That’s just the nature of the beast.
I just got home from the Museums and the Web conference in Indianapolis. 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. Instead, I found a standard artmuseum. Is this a problem?
If you asked me a month ago what the biggest barrier was to American arts organizations adopting practices that support active engagement in the arts by diverse participants, I would have said two: money and legitimacy. I asked how their new Exploring Engagement Fund (of which my museum was an early grant recipient) was going.
Two weeks ago, we inaugurated a Creativity Lounge on the third floor of our museum. It's a little living room in a lobby area that invites people to lounge on comfortable chairs, leaf through magazines and books related to art and Santa Cruz history, and generally hang out. The area that houses the Creativity Lounge also shows art.
This conversation came about after Seth's provoking post " The Problem with Non " took a swing at nonprofits for lack of adoption of social media, saying it was all due to fear. Our patience with the lack of innovation that is the problem. These " Ask the Expert " chats take place on the phone with a online chat back channel.
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.
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.
This week, my colleague Emily Hope Dobkin has a beautiful guest post on the Incluseum blog about the Subjects to Change teen program that Emily runs at the Santa Cruz Museum of Art & History. Subjects to Change is an unusual museum program in that it explicitly focuses on empowering teens as community leaders.
In the final installment of Museum 2.0’s s four part series on comfort in museums, we get down to the basics: creature comfort. So for this last piece, we look at going the other way: making museums more physically comfortable. And on the walls, my friend explained, was art from the museum itself.
Last week, at the annual meeting of the American Association of Museums in Houston, I was honored to chair a fabulous panel on empowering museum staff to take creative risks ( slides here ). Beck beautifully described her entry into museum work. What kind of support do you need to be confident about taking a risk in your work?
A group of individuals has more knowledge for solving a problem than any single individual. Crowds create original works of knowledge or art. The Royal Opera used Twitter to crowdsource a new opera. Does being engaged in the creation of the work spur more appreciation for the art form and hopefully attention and participation?
Architecture is, at its core, about problem-solving: balancing aesthetics, functional needs, and technical constraints to create effective buildings and environments. The most innovative firms in the industry expand this notion, solving pressing issues in new ways that build on or scale up existing techniques and technologies.
Well, that is not a problem if you know Simone, who speaks fluent French! Here are a few photos of a few of the myriad of fun activities we had from the Welcome Banner to Indy to visiting the ArtMuseum to Symphony on the Prairie at Conner Prairie to celebrating a birthday!
The Western Museum Association was kind enough to invite me to speak on a panel about engagement at their annual meeting in Boise. Phillip’s early remark about museums was an invocation for everyone. As an outsider, he immediately saw that museums were operating “under a business model that doesn’t work.” We need to change.
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. And it could be argued that a curator's repsonsibility is to keep his or her museum away from courts of law.). It's really out of our hands.
Honeybee’s customers include Alameda County Community Food Bank, DC Central Kitchen, Kate Somerville, Community Catalyst of California, Southwest Water Company, Straus Family Creamery, Asian ArtMuseum, Pasadena Humane Society and Peachtree Health.
It made me think in ways that I haven't before about the relation of art--as expressive culture--to democracy. 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.
Published on February 7, 2025 7:35 PM GMT TL;DR: If you are thinking of using interpretability to help with strategic deception, then there's likely a problem you need to solve first: how are intentional descriptions (like deception) related to algorithmic ones (like understanding the mechanisms models use)? What is the 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.
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