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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.
Dear friends, This is my last post as the author of Museum 2.0. I'm thrilled that Seema Rao is taking this blog and museum community into its next chapter. You can find all my archived Museum 2.0 Today, I want to share a bit about what Museum 2.0 When I think of Museum 2.0, I started the Museum 2.0
If they can no longer make the call, reassign quickly, make the call yourself, or find a VIP on your team to make the “wow” surprise call (imagine how the donor might feel getting a call from a museum curator, doctor in charge of research, playwright, celebrity chef volunteer, lead attorney on a civil rights case, etc.). Transparency.
I've spent much of the past three years on the road giving workshops and talks about audience participation in museums. Have you seen attitudes in our field about visitor participation shifting over time? The Museum 2.0 For more on the differences among different types of museums (with examples), check out this post.
What does your museum have to say about it? What do visitors expect of museums, and what do museums expect of themselves, when it comes to timeliness? This is partially driven by museums, which want to be seen as "forums" for discourse, but also by the expectations of a media-saturated public. Pluto just got demoted.
This week, we're covering the third objective in Charlene Li and Josh Bernoff's book Groundswell : energizing (chapter 6). In this post, an exploration of ways that museums can support promoters, convert detractors, and generally energize visitors to share their experience with others. How do you support your biggest fans?
Here's that chapter. No museum puts up a label that says: “Our last curator thought this painting was lousy and kept it in storage. Before the MAH exhibition, those historic surfboards rested deep in the collection storage of the Bishop Museum in Hawaii. We’re working on a smaller scale, with specific content or programs.
This week, thoughts on Chapter 12 of Elaine Gurian’s book Civilizing the Museum , "Threshold Fear: Architecture program planning." In this essay, Elaine discusses the various barriers to entry for non-traditional visitors to museums, that is, the threshold fear that keeps such potential visitors from walking in our doors.
Black Youth Project — BYP has various local chapters. The Black Youth Project examines the attitudes, resources, and culture of the young, urban black millennial, exploring how these factors and others influence their decision-making, norms, and behavior in critical domains such as sex, health, and politics. . Find yours here.
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