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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
If for instance, you tagged a tweet about your Foundation's performing arts program with #arts, your tweet would be amongst tweets about all kinds of topics in the art world - even tweets about Paula Abdul leaving American Idol. engaging in conversation, finding it more useful as a social media tool).
Note From Beth: Yesterday, I attended a convening called “ Beyond Dynamic Adaptability ” for arts organizations about cultural participation in the arts. Every Memory Matters is expected to go live in January, 2012, when Granito is broadcast nationally on the PBS series POV.
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.
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.
And it''s got me thinking about how we build energy and audience for the arts in this country. Barry Hessenius recently wrote a blog post questioning the theory that more art into the school day will increase and bolster future adult audiences for art experiences. Like Barry, I feel that more art in schools is always better.
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.
--Elaine Heumann Gurian, The Importance of "And" Recently, I''ve been embroiled in local and national conversations about the relationship between active participation and quiet contemplation in museums. Our museum in Santa Cruz has been slammed by those who believe participatory experiences have gone too far. Some visit the archives.
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.
I spent last week in the glorious country of Taiwan, hiking, eating, and working with museum professionals and graduate students at a conference hosted at the Taiwan National Museum of Fine Arts. It's not topic-specific; I've done these exercises with art, history, science, and children's museums to useful effect.
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.”
Do you consider yourself an "activist" for your organization, avocation, or art form? Sure, I admire cultural organizations that have a strong mission to change education or diversify access or transform the role of art in everyday life, but I'm an insider. A national election is the ultimate participatory project.
One that has found remarkable success is California’s Santa Cruz Museum of Art & History. I'm also always interested in how the national media portrays changes in the cultural sector. Executive Director Nina Simon, who was hired in 2011, says that in the years following the global financial crisis, the facility was struggling. “At
Most participatory projects were short-term, siloed innovations, not institutional transformations. Interestingly--for good and ill--this transformative funding program coincided with a national funding crisis in the arts in the UK. Bernadette Peters' provocative 2011 report, Whose Cake is it Anyway? didn't mince words.
I also learned that the best money in museums for someone who's starting out is in art modeling. After a long day running around a science center, I would show up at the Worcester Art Museum in the evening and make $20 just to stand around and listen to a painting instructor talk about art.
Many of the talks are related to The Participatory Museum and I will have books for sale on all of these forays. I'm giving a free talk at the Smithsonian American Art Museum on the evening of the 22nd, and then a free workshop on the 23rd at the National Postal Museum on designing better mechanisms for visitor feedback and response.
Today, I wanted to think about participatory elements, something so essential to this blog. Lumin at Detroit Institute of Art Now on to the interactives…I’ve been thinking a great deal about the function of interactives in museums. Me with a friend As I keep saying, I’ve been to a few museums of late.
Why the Video Contest Worked Video contests are one of the most challenging kinds of participatory projects to pull off. MSI did three things that most organizations don't or can't do when they set up a video contest: They got a TON of local, national, and international press. I loved this video by Tracie Farrell. Museum staffers.
I've experienced all kinds of fabulous museums and participatory experiences from Stockholm to Columbus, Ohio, many of which I will be sharing soon on this blog. This is a special two-fer that includes a lunchtime presentation by Jim Leach, the newish Chairman of the National Endowment for the Humanities.
We're taking the art of freelancing for writers, and making it much more transparent and much more public. It's easier for people to get really passionate about national issues, but local issues are just as important. The other two things that happened was that I started working a lot in participatory journalism.
Like many people in the arts, I'm interested in new models that help people combine mission-driven work with an entrepreneurial spirit. This relationship bit helped me think about how different kinds of folks will be involved with a highly participatory, community-co-created project in the long-term.
Last month, I gave the closing keynote at the National Digital Forum in New Zealand. I used the example of the Yerba Buena Center for the Arts, which has a mission statement that includes unusual words like “bold” and “fearless.” For this reason, I spoke specifically about how to make dream projects possible at real institutions.
ers, Next week, I'll be going to DC for a meeting convened by the National Academy of Sciences and the Institute of Museum and Library Services on "Museums and Libraries in the 21st Century." Ideas participatory museum professional development inclusion. Dear Museum 2.0-ers,
Today, the Luce Center at the Smithsonian American Art Museum (SAAM) is launching what they claim is the first ever alternate reality game (ARG) in a museum. Why would an art museum create an ARG? But comments on the gamers' forum like: An internet collaborative [sic] art display in a national museum?
At this moment in the arts and social justice sectors, were seeing greater visibility of disability cultureled by disabled creatives including artist, composer JJJJJerome Ellis , filmmaker Jim LeBrecht , and writer Alice Wong. Funding disabled creatives advances the arts and social justice.
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. 2016 Alliance National Conference. Nonprofit Management.
This is a participatory live video show - come ready with your questions for our experts! of art, activism, and academic inquiry on the politically charged. Berkeley, Stanford, United Nations University, New York University, UC. Get your story ideas ready and RSVP for Nonprofits Live on February 8. His forthcoming.
This is a participatory live video show - come ready with your questions for our experts! David is a cross-disciplinary mediamaker, working at the intersection of art, activism and academic inquiry on the politically charged questions surrounding globalization and social justice. Guests for Nonprofits Live: Collaborative Video.
For a long time, I’ve admired their ambitious work, from exhibitions on complex topics like network science to integration of contemporary art into their galleries to incredible dedication to advancing the careers of diverse youth in Queens. Then again, the New York Hall of Science isn’t just any science center. Paul five years ago.
We dont have digital data for a lot of human intelligence, because people werent valuing the people who produce those books, or the people who produce that art. In fact, we do know that its being used by criminal investigators and national security services to identify patterns in organized-crime networks and things like that.
The one BerkShare note honors the local Mohican nation; W.E.B. As a platform for such local activity, more participatory forms of engagement are already envisaged—an area “culture pass” for museums and arts institutions is one exciting example—to further stimulate local activity.
Our entire strategy at the Santa Cruz Museum of Art & History is rooted in community participation. People participate in national and local politics--and they do so completely differently. National politics are sweeping, remote. Printmakers leading workshops. Teens advocating for all-gender bathrooms.
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