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Last week, I visited the Wing Luke Asian Museum in Seattle. I've long admired this museum for its all-encompassing commitment to community co-creation , and the visit was a kind of pilgrimage to their new site (opened in 2008). I'm always a bit nervous when I visit a museum I love from afar. I avoid them.
Since then, Stacey has become an indispensable member of our staff, leading our community programs and inspiring us to think in new ways about how we can build social capital in our community. Visitors bond and bridge through participatory experiences at MAH. You can download and read the full version of my thesis here.
But not enough people care about it anymore, and the museum is fading into disrepair. Yesterday, I learned about the Silk Mill, a British historic site that is going through a dramatic community-driven reinvention. The Silk Mill is part of the Derby Museums , a public institution of art, history, and natural history.
--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. This post focuses on one aspect of the exhibition: its participatory and interactive elements.
A few years and a few hundred open mics into that experience, it became obvious that some venues fostered amazing poetry communities, others, not so much. The whole experience welcomed newcomers while helping them understand what "value" constituted in that community. This is an issue we are actively grappling with at our museum.
Nina has written a fantastic book engagement called The ParticipatoryMuseum. A third argues that the project won’t be truly participatory unless users get to define what content is sought in the first place. Rick wanted a better way to describe what kinds of projects led to different community outcomes.
It gave me a chance to really think about how we have been opening up our museum and what it means for our community. Museums can be incredible catalysts for social change. We're doing it in Santa Cruz and it has absolutely transformed our museum into a thriving community institution. But they're not there yet.
Earlier this year, I was fascinated to read the account of a participatory project at the Morrison County Historical Society in Minnesota, in which community members were invited to write essays about “what’s it like” to have various life experiences in the County. How did this project get started?
Today is my one-year anniversary as the executive director of the Santa Cruz Museum of Art & History. A year ago, I put my consultant hat on the shelf and decided to jump into museum management (a sentence I NEVER would have imagined writing five years ago). THINGS I’M MOST PROUD OF: Redefining our role in the community.
Dear Museum 2.0 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 ). I am closing down my consulting business at the end of April, but the Museum 2.0 Here are a few things that make the MAH an exciting museum to me: It's small.
Two weeks ago, my museum was featured in a Wall Street Journal article by Ellen Gamerman, Everybody''s a Curator. I''m thrilled that our small communitymuseum is on the map with many big institutions around the country. I''m glad to see coverage about art museums involving visitors in exhibitions. It''s not cheap.
There are many artistic projects that offer a template for participation, whether a printed play, an orchestral score, or a visual artwork that involves an instructional set (from community murals to Sol LeWitt). One of the things I always focus on in participatory exhibit design is ensuring that everyone has the same tools to work with.
This morning, I checked in on the Pocket Museums on our museum's ground floor. This simple participatory project invites visitors to contribute their own small objects in little alcoves in our bathrooms. The Pocket Museum activity could be more appropriate for women, many of whom carry bags or purses.
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 art museum. Impersonal guards.
As many of you know, I've been working for the past year+ on a book about visitor participation in museums, libraries, science centers, and art galleries. The ParticipatoryMuseum is a practical guide to visitor participation. The ParticipatoryMuseum is an attempt at providing such a resource. Want to buy a book
This post was written by my colleague Nora Grant, Community Programs Coordinator at the Santa Cruz Museum of Art & History. Pop Up” has become an international buzz term to describe ephemeral, experimental projects--from pop up restaurants to pop up boutiques--but a “Pop Up Museum” is still somewhat mystifying.
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. The content focuses on the question of WHY we collect and how our collections reflect our individual and community identities.
Gretchen Jennings convened a group of bloggers and colleagues online to develop a statement about museums'' responsibilities and opportunities in response to the events in Ferguson, Cleveland and Staten Island. Museums are a part of this educational and cultural network. Where do museums fit in? Here is our statement.
Last month, the Irvine Foundation put out a new report, Getting In On the Act , about participatory arts practice and new frameworks for audience engagement. I've often been asked about examples of participatory practice in theater, dance, and classical music, and this report is a great starting point.
This is the second in a four-part series about writing The ParticipatoryMuseum. Several hundred people contributed their opinions, stories, suggestions, and edits to The ParticipatoryMuseum as it was written. One wiki editor wrote, "Nina, your active presence as the author / hub for the contributing community was tops.
I get excited about a lot of things in my work at the Santa Cruz Museum of Art & History. That's how I felt when artist Ze Frank got in touch to talk about a potential museum exhibition to explore a physical site/substantiation for his current online video project, A Show (s ee minute 2:20, above).
This is the final segment in a four-part series about writing The ParticipatoryMuseum. This posts explains why and how I self-published The ParticipatoryMuseum. COST: Museum books tend to be expensive - because they are printed in small runs, the price for a 400-page paperback can be as high as $40.
Pop-Up Museum [n]: a short-term institution existing in a temporary space. Over the past few years, there have been several fabulous examples of pop-up museums focusing on visitor-generated content. Maria Mortati runs the wonderful SF Mobile Museum , which roams the Bay Area showing mini-exhibits on evocative themes.
At the Santa Cruz Museum of Art & History, we take our interns seriously, give them real responsibility, creative challenges, and meaningful work opportunities. I'm particularly excited about two internships that relate to participatory exhibition design. First, there is the Participatory Exhibit Design Internship.
advocacy and leveraging the social community there: Starbucks Campaign. it takes advantage of the established Flickr community???s I read a post about user-generated content from the fresh+new blog which is focused on new media in museums. She posted a pointer on the NTEN Nonprofit Flickr Affinity Group list today.
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.
A few weeks ago, the MAH Director of Community Programs, Stacey Garcia, came to me with an idea. As we try to build a brand for "3rd Friday" as an ongoing museum series, I feel like these photos, more than any other collateral, will help people understand what the event is like and what they might get out of it. you tell me.
This is the third in a four-part series about writing The ParticipatoryMuseum. When I decided to write a book about visitor participation in cultural institutions, I knew I'd do it in a way that reflected the values behind the book itself--transparency, inclusion, and meaningful community participation.
Recently, we''ve been talking at our museum about techniques for capturing compelling audio/video content with visitors. It made me dig up this 2011 interview with Tina Olsen (then at the Portland Art Museum) about their extraordinary Object Stories project. We ended up with a gallery in the museum instead.
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.
One of the greatest gifts of my babymoon is the opportunity to share the Museum 2.0 First up is Beck Tench, a "simplifier, illustrator, story teller, and technologist" working at the Museum of Life & Science in Durham, NC. As a person who works for a science museum, I work in an environment that supports play.
This post was written by Jaime Kopke , the founder/director of the Denver CommunityMuseum , a pop-up community-generated institution that ran from Oct 2008-April 2009. The Denver CommunityMuseum (DCM) was a grassroots operation in almost every sense. The DCM was a place that was part science experiment.
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 museum itself was well-integrated into the event. As always, I learned a lot from Ze Frank's unique approach to community participation.
Courageous speakers from dozens of countries described bold, participatory projects. El Museo Reimaginado is a collaborative effort of museum professionals in North and South America to explore museums' potential as community catalysts. And the conference itself resonated with joy, participation, and community.
I first met Mary in 2005 through my connection with the Global Voices community and can say that Mary is among the most knowledgeable and experienced digital activists in the world. Open Community by Lindy Dreyer and Maddie Grant. 9 The ParticipatoryMuseum by Nina Simon. You can pick up a copy here.
The runner up winner was Maureen Dowd from Open Museum What I propose to do with the library you are offering is read it, try it, share it, and let you know how it works for me, my colleagues and the people we influence. It's been my bible for community and relationship building. It takes content, strategy and elbow grease.
How do you develop programs that are responsive to your community in a meaningful way? How do you find out what's important to different communities, and how do you change your plans based on their needs? So we've started a new committee called C3--the Creative Community Committee. Six goals for MAH community programs.
I've spent much of the past three years on the road giving workshops and talks about audience participation in museums. The Museum 2.0 In 2008 and 2009, there were many conference sessions and and documents presenting participatory case studies, most notably Wendy Pollock and Kathy McLean's book Visitor Voices in Museum Exhibitions.
It started as a handout for a session that Stacey and I are doing at the California Association of Museums, and then I realized it was so darn useful that it was worth sharing with all of you. The majority of our public programs at the Santa Cruz Museum of Art & History are created and produced through community collaborations.
Every time a colleague tells me her museum has just hired a "community person," a part of me cringes. When community managers are the sole masters of their own dominions, two problems arise. I've been this community manager and know these problems first-hand. I don't tell this story with pride; I tell it with shame.
For years, I'd give talks about community participation in museums and cultural institutions, and I'd always get the inevitable question: "but what value does this really have when it comes to dollars and cents?" We're hearing on a daily basis that the museum has a new role in peoples' lives and in the identity of the county.
This question is a byproduct of the reality that most participatory projects have poorly articulated value. If you don't have a sense of an outcome--whether that be internal research, community conversation, or something else--you can't decide how or whether contributions should be documented or archived.
One, from a museum director. PARTICIPATORY: can people get involved or contribute to it? Heck, no museum exhibition hits them all. A community-based exhibition, full of life but rife with amateur design and poor editing. High participatory quality, low technical quality. Core Museum 2.0 Engaging new people.
Yesterday, I had the delightful opportunity to participate in the 3six5 project , a yearlong participatory project in which 365 people write 365 journal entries for every day of 2010. Participating in this made me wonder: could a museum or library run a project like 3six5? Complexities of project management.
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