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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. Trying to engaged the teen-to-twenty-something who normally may not use the research library.
Imagine this situation: You go to an arts event, one of a type you rarely or never take part in. Maybe it's a live music concert, or a museum visit, or a play. There's been a lot of innovation in arts programming in the last few years. There's been a lot of innovation in arts programming in the last few years.
I''ve now been the executive director of the Santa Cruz Museum of Art & History for three years. When I look back at some recent projects that I''m most excited about (like this teen program ), I realize that I had very little to do with their conception or execution. Sometimes it isn''t.
This week, the National Committee for Responsive Philanthropy released a new paper by Holly Sidford called Fusing Arts, Culture, and Social Change. The majority of foundation funding for the arts goes to large, established organizations that present work that is based in the European canon for a primarily white, upper-income audience.
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 August/September, I am "rerunning" popular Museum 2.0 This post is even more relevant today to the broader conversation about audience diversity in the arts than when it was published three years ago. Most large American museums are reflections of white culture. blog posts from the past. YES students defy expectations.
Some of the entries of what you can read on the Walker Blog, may appear at first glance to be mundane details of cube life , but then you remember that it is a museum blog and it makes the institution seem more human. This Walker Blog let's us peer into the inner workings of the art institution. I saw your posts on Art Mobs.
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.
But I’d been scribbling notes for an artmuseum label post for awhile, and then yesterday, the NY Times had a review of a new show at MOMA, Comic Abstraction. And it ended with this: No wonder it [MOMA] ends up showing shallow, label-dependent art rather than work that offers deeper, more contradictory encounters.
Last week, I gave a talk about participatory museum practice for a group of university students at UCSC. During the ensuing discussion, one woman asked, "Which audiences are least interested in social participation in museums?" Many teens love to perform for each other. First, teens often have incredibly tight social spheres.
This post features an interview with Sarah Schultz, a museum staffer at one of the institutions Light profiled in the book (the Walker Art Center). It's easier to secure grants for community-based programming or exhibitions, but it's not easy to get funding for some of the core work that museums do.
Like a lot of organizations, my museum struggles with two conflicting goals: The museum should be for everyone in our community. At the Santa Cruz Museum of Art & History , we''re approaching this challenge through a different lens: social bridging. And rarely the twain shall meet.
Recently, I was giving a presentation about participatory techniques at an artmuseum, when a staff member raised her hand and asked, "Did you have to look really hard to find examples from artmuseums? Aren't artmuseums less open to participation than other kinds of museums?" In Your Face ).
Art spaces masquerading as laundromats and letterpresses. From a museum perspective, I think there's a lot to learn from these venues' business models, approach to collecting and exhibiting work, and connection with their audiences. Want some waffles with your art? Skill-sharing free schools. Community science workshops.
It’s 2019, and a whole lot is changing in the museum and nonprofit world. That’s not to mention how strained museums already are in terms of resources. According to the American Alliance of Museums, the average museum has 6 volunteers for every paid staff member , a ratio which s oars to 18:1 in museums with budgets under $250,000.
You gravitated toward the museum, zoo, gallery, symphony, cultural management organization because of your roots. Maybe think about activities you could support that would offer parents a place for their kids to go and learn, like a movie series, art classes, or a small-scale concert. Maybe it’s the same with some of you, too.
But this job is really important to the future of our museum, and I’m hoping that you or someone you know might be a great fit for it. 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.
This week, the Denver ArtMuseum (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 is an incredible museum experience. The visitor is given a copy of her poster and the museum keeps a copy as well.
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.
Last Friday, I witnessed something beautiful at my museum. A group in their late teens/early 20s were wandering through the museumwide exhibition on love. When I walked by the first time, the teens were collaging and Kyle and Stacey were talking. At museums, we mostly bond with the friends and family with whom we attend.
Last Friday night, my museum hosted a fabulous (in my biased opinion) event called Race Through Time. When Friday night rolled around, we did see a crowd that skewed decidedly younger and hipper than our standard museum audience. Performances just for teens. Late night mixers at museums for young adults.
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.
Teen Outreach Pregnancy Services. Most often, private operating foundations are organizations that operate museums, theaters, or arts centers, although any other charitable activity conducted directly by the foundation can qualify. " —Laura Pedersen. Executive Director.
One of the best personal brands that I’ve seen on Instagram from a nonprofit leader is Thomas P Campbell the CEO of the Metropolitan Museum. This shot is a painting at a museum visited during a professional conference for museums. He gives you the inside story about the work of art. Visibility.
Last week marked four years for the Museum 2.0 People--especially young folks looking to break into the museum business--often ask me how I got here. Ed Rodley recently wrote a blog post about museum jobs entitled "Getting Hired: It's Who You Know and Who Knows You." hour at the Museum. I made $26/hour at NASA and $7.25/hour
It's not every day that a visitor buys pizza for everyone in the museum. Then again, Saturday was hardly normal at the Santa Cruz Museum of Art & History. The group was mostly young (teens to thirties) and nerd-diverse: a little bit punk, a little bit hacker, a little bit craft grrl. It was pretty freaking amazing.
I’ve received a few inquiries over the last year about museums and geocaching. So I felt lucky last week to learn not only about an innovative arts exhibition employing geocaching, but to discover that its exhibit developer, Seth! to ask him all the dumb questions about geocaching and museums you can imagine… and a few more.
Later, when were chatting with a small group of people in the lobby, we noticed a group of teens walking by looking a little sad. Then once they visit have such a great experience that they want to stay connected with the museum through social channels. Artists have been using the right tool at the right time to make art.
I've long believed that museums have a special opportunity to support the community spirit of Web 2.0 This month brings three examples of museums hosting meetups for online communities: On 8.6.08, the Computer History Museum (Silicon Valley, CA) hosted a Yelp! Me: Have you ever been to this museum? meetup for Elite Yelp!
Very, very few museum visitors are in the "dog and baby" category. I will always remember when Robin Dowden of the Walker Art Center told me that she knew their teen website was working because she thought it was ugly and impossible to navigate. She needs to nap when she gets cranky, even though she keeps flailing her limbs.
This month, I'm sharing a few chapters from my new book The Art of Relevance in advance of its release. Here's one of my favorite stories about the London Science Museum and their work to make their science shows relevant to families with deaf or hearing-impaired family members. This chapter appears midway through the book.
Thanks to Bryan Kennedy from the Science Museum of Minnesota for providing this overview/reflection on the Museums and the Web conference that recently concluded in Montreal. Museums and the Web 2008 guest blogger Bryan Kennedy here. The Walker Art Center is turning its teen website over to the teens.
The speakers for this panel include: Tracy Fullerton - Electronics Arts Game Innovation Lab Ruth Cohen - American Museum of natural History Elaine Charnov - The NY Public Library Jason Eppink - Museum of the Moving Image Syed Salahuddin - Babycastles Elaine Cohen: The New York Public Library 100 Years of the flagship library in New York.
Orrigo says children and teens light up when they see their DALL·E-generated creations, and they are ready to be the star of a story brought to life from their imaginations. The DALL·E works will be exhibited alongside Schiele’s collection in the Leopold Museum in the coming months. "A
I spent the weekend queuing up posts for my forthcoming blog-cation--nine weeks of guest posts and reruns from the Museum 2.0 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.
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. Pocket Museums in bathrooms. We're going to need more jars. They might not match. Digital Collections comment wall.
This is the second installation in a series of posts on the Santa Cruz Museum of Art & History (MAH)'s development of Abbott Square , a new creative community plaza in downtown Santa Cruz. I love art and performances and family festivals. What amenities does it need? Community stakeholders made this a community project.
This week marks five years since the book The Participatory Museum was first released. Across the museum field, the questions about visitor participation have gone from "what?" Over the past four years, I''ve been running a small regional art and history museum in Santa Cruz, CA. and "why?" to "how?".
For the last time this summer, I'm sharing a chapter from my new book The Art of Relevance to celebrate its release. FoodWhat's staff and teens have taught me a lot about what it really means to be relevant to people who are often overlooked or ignored. FoodWhat empowers teens to change their lives through farming and food justice.
After jumping in, you swam across the short length of the hole (about 10 yards), and emerge, wet and freezing, only to get to race through temps in the teens to try to warm up in a lukewarm hot tub. Museums, zoos, and aquariums are finding that crowdfundraising can be a strategic tool to add to their fundraising playbook. Denver Zoo.
Which of these descriptions exemplifies participatory museum practice? Museum invites community members to participate in the development and creation of an exhibit. Museum staff create an exhibit by a traditional internal design process, but the exhibit, once open, invites visitors to contribute their own stories and participation.
Rabinowitz commented that "as a 40-year veteran of history museum interpretation, I can say that I never learned so much from and about visitors." This is the opposite situation of the previous design goal, one typical in science and children's museums.
On Tuesday, I reviewed Elaine Gurian’s essay, Choosing Among the Options , on museum archetypes and self-definition. Today, discussion with Elaine about ways museums choose their direction, how change is possible, and new museum types to be added to the list. What if you don’t want to be identified as one type of museum?
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