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It made me think in ways that I haven't before about the relation of art--as expressive culture--to democracy. It is multi-disciplinary, incorporates diverse voices from our community, and provides interactive and participatory opportunities for visitor involvement. Note: you can view these photos of the exhibition on Flickr here.)
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.
Imagine this situation: You go to an arts event, one of a type you rarely or never take part in. 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. How do you form an arts habit? You have a great time.
Last week, I gave a talk about participatory museum practice for a group of university students at UCSC. I immediately flashed to my work with art museums and staff members' concerns that older, traditional audiences will shy away from social engagement in the galleries. Many teens love to perform for each other.
Which of these descriptions exemplifies participatory museum practice? But the difference between the two examples teases out a problem in differentiating "participatory design" from "design for participation." In the first case, you are making the design process participatory. In the second, you make the product participatory.
At the Santa Cruz Museum of Art & History , we''re approaching this challenge through a different lens: social bridging. Family Art Workshops" suffer from anemic participation whereas multi-generational festivals are overrun with families. Museum of Art and History programs social bridging' And rarely the twain shall meet.
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.
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. I don't know what formed the bridge between the artists and the teens in this circumstance. Kyle had brought his baby with him.
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.
Recently, I was giving a presentation about participatory techniques at an art museum, when a staff member raised her hand and asked, "Did you have to look really hard to find examples from art museums? Aren't art museums less open to participation than other kinds of museums?" I was surprised by her question.
This week marks five years since the book The Participatory Museum was first released. I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. Over the past four years, I''ve been running a small regional art and history museum in Santa Cruz, CA.
Then again, Saturday was hardly normal at the Santa Cruz Museum of Art & History. This past weekend, in conjunction with our exhibition about Ze Frank's current participatory project, A Show , we hosted " Ze Frank Weekend "--a quickie summer camp of workshops, activities, presentations, and lots of hugging.
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. Participatory work can be very labor-intensive.
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.
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. Thank you for inviting me to come to your museum/conference/art center/home. I''ve never taken a break from blogging before.
At the big one, I worked on a small project with teens to design science exhibits for community centers in their own neighborhoods. I also learned that the best money in museums for someone who's starting out is in art modeling. I survived the first half of 2003 financially on art modeling and poetry gigs.
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.” I worked on one project in which the client institution thought they wanted unfettered teen expression. Ask leaders to be accountable to the mission.
Visitor Co-Created Museum Experiences This session was a dream for me, one that brought together instigators of three participatory exhibit projects: MN150 (Kate Roberts), Click! So far, most participatory museum design projects are heavily guided by the institution. MN150 will have formal summative evaulation, which is wonderful.
There was a wonderful example at the Ontario Science Center in their Hot Zone area, which features several voting and commenting kiosks popular with teens. Tags: Talking to Strangers design participatory museum usercontent interactives. What design techniques do you use to create successful visitor dialogue experiences?
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. Projects participatory museum. Again, hundreds of mostly young people shot hundreds of videos and photos featuring or on location at the museum.
We're always happy for more bodies in the door, but if supporting teens means alienating seniors, there's a problem. The article references connecting with young people via social media, at-risk youth via exhibit co-creation, and urban creatives via public art installations. Tags: participatory museum inclusion comfort.
Our entire strategy at the Santa Cruz Museum of Art & History is rooted in community participation. Teens advocating for all-gender bathrooms. That means offering clear, visible, appealing participatory experiences that enhance the destination experience. Printmakers leading workshops.
The chairs were cast-off art, reclaimed as art, available for people to take off the hooks and use. What kind of an art institution is this? It encourages process-driven performances and art projects. It takes the kind of risks that a university art gallery should take. They were there for artist talks.
The recent flurry of restrictions that has sent teens fleeing? I can just imagine the headline: CHILD MOLESTERS CALL ON ART, VICTIMS. How can going to an art museum be more like going to a convention for people who love art? Tags: participatory museum visitors. The irritating design? Or is it the stalkers?
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