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Ruth Cohen – American Museum of natural History. Jason Eppink – Museum of the Moving Image. Ruth Cohen – American Museum of natural History. We are trying to change the visitors’ experience at the museum as well as ownership of what is in the museum, break down the walls between the public and the museum.
This Black History Month, we reflect on the strategy work that our team does through our partnership with the Smithsonian National Museum of African American History and Culture —much of which centers around expanding access. A Seat at the Table It was March 2020. Endowed by Dr. Ruth J.
” Here’s a summary of some of the best answers we received: Prioritizing Collaboration and Sustainable Funding Arts and Culture Alpine County (ACAC), a local arts agency, has obtained small grants from the Alpine County Board of Supervisors and Live Healthy, an organization under the Alpine County umbrella.
First up is Colleen Dilenschneider, the Chief Market Engagement Officer for IMPACTS, a global leader in predictive market intelligence and related technologies, and the publisher of one of our team’s favorite websites, Know Your Own Bone , which shares data and analysis about how cultural audiences think and behave. Robert Gilmor , Jr.”
Why does your museum open its doors each day? Every arts and culture organization has a brand and that brand has a purpose. For arts and culture organizations, brand purpose is often about facilitating learning and engaging visitors in unforgettable experiences that provide educational and social value. open rate, CTR.
Last week I was in Chicago to facilitate a session about leadership and social media as part of Knight Digital Media Center’s Digital Strategy for Community Foundations and Nonprofits. Leadership Organizational Culture' Lean on Your Staff.
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.
This August/September, I am "rerunning" popular Museum 2.0 Diane is both visionary and no-nonsense about deconstructing the barriers that many low-income and non-white teenagers and families face when entering a museum. Most large American museums are reflections of white culture. blog posts from the past.
You can join the conversation in the blog comments, or on the Museum 2.0 Like many museum and library professionals, I am enamored of the idea of cultural institutions as “third places” – public venues for informal, peaceable, social engagement outside of home or work. This is the only post written by me, Nina Simon.
Last week, I had the pleasure of facilitating a Networked Nonprofit and Social Media workshop at the Independent Sector Annual Conference “ Forging A Stronger Future Together &# in Atlanta. In many cases, the slow to change eventually adopt or they no longer remain relevant to their constituents, donors, or loose their edge.
This month we’ve been thinking about “What is a museum?” (I'm I’ve been visiting museums my whole life. Does that make me the best judge of museums? People are the defining characteristics of museums. I’ve worked with and at plenty of museums that can sometimes feel empty. I'm not alone there.
Despite a broken toe, I facilitated a workshop on Social Media for CEOs of nonprofits and foundation. The Portland Arts and Culture Social Media Convening Workshop. The Portland Arts and Culture Social Media Convening Workshop. Flickr Photo by James Leventhal. And, they all got copies of Networked Nonprofit (thank you James!)
Not only does this help me frame and tailor the talk I give to the audience, but facilitates Twitter conversations before. The principles cover strategy, learning, capacity, and organizational culture. Examples: Wildlife Direct and Brooklyn Museum. Conversational Key Note.
It takes you through the technologies and tools for each channel for different goals and offers up lots of case studies from organizations such as National Wildlife Federation, Red Cross, AARP, Clinton Bush Haiti Fund, American Museum of Natural History, SEIU and others. The book offers some recipes for culture change.
Part of the job of being a true philanthropy facilitator is showing donors how they might benefit from being a little more generous. Download this Culture of Philanthropy Checklist loaded with action tips to determine if your nonprofit has one in place, and how to get started with adopting a culture of philanthropy.
Consider the recent research at the University of Arkansas about the value of school field trips to cultural institutions. Educational reform researchers did a rigorous study of school groups that experienced a single one-hour guided tour of Crystal Bridges Museum of American Art. She needed money.
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 community museum is on the map with many big institutions around the country. I''m glad to see coverage about art museums involving visitors in exhibitions. Core Museum 2.0
On Friday, I facilitated the final face-to-face workshop for the Social Media Lab for 25 arts organizations inspired by Thomas Edison’s approach. The whole idea got started a year ago when James Leventhal who is Deputy Director for the Contemporary Jewish Museum asked me if I would design some trainings for the local arts community.
Not only do you need to be listening and taking action, but as an organization, you need to have a culture that supports collaboration. And finally, you want to identify the roles needed to create, facilitate, and implement the programs and services you design with the community. At least if you plan on interacting with them!
Note from Beth: I had pleasure of facilitating a panel discussion in October at the recent Grantmakers in the Arts pre-conference on technology and media with Rory MacPherson where I learned about some of the preliminary study result he discovered. Stein has found “the highest levels of engagement tend to revolve around content.
Yesterday, I had the pleasure of co-facilitating a half-day “Digital Strategies&# seminar with Vince Ford, Director of Digital Media from the New York Philharmonic and leading a peer session for major orchestra marketing staff and youth orchestra executive directors with Makala Johnson who does Social Media [.] Decks and Links here.
I’m working with a network of community foundations, grantees of the Knight Foundation, that are hosting giving days as the facilitator. The peer learning exchange is experimenting with best practices for Giving Days. The group is using and adding their knowledge to The Giving Day Playbook.
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.
Designed to assist and support an organization (and most commonly hospitals, museums, libraries, and arts organizations), these groups historically focus on raising funds, sometimes manage the volunteer corps, and nearly always maintain their own governance system. Those recommendations are then presented to leadership.
Diane is both visionary and no-nonsense about deconstructing the barriers that many low-income and non-white teenagers and families face when entering a museum. Most large American museums are reflections of white culture. Guards staring at black teens and grumbling about their clothes. Why can't new visitors do the same?
This fosters a culture of open communication and empathy within the team. While I was at the Philadelphia Museum of Art working on a website redesign, we recognized the need to be transparent with our internal audiences and started hosting a series of monthly open forum presentations called “Website Wednesdays.”
While it hasn't happened here in awhile, a new Museum 2.0 Many museum and library professionals use the concept of the third place to describe the idealized vision of a cultural institution as a place for community use and civic engagement. For four weeks starting June 1, each Tuesday there will be a Museum 2.0
Roberto Bedoya : The "Yes And" Argument and its Civic Implications Bedoya, the Executive Director of the Tucson Pima Arts Council, makes a beautiful statement that arts administrators need to facilitate a multiplicity of leading voices, or as he puts it, "the courage of imagination and the plural."
Last week I was honored to be a counselor at Museum Camp , an annual professional development event hosted by the Santa Cruz Museum of Art & History (MAH). Nina Simon, the executive director of the museum, is an expert in participatory design and fantastic facilitator. A mature employee knows how to manage up.
I like to ask myself this question periodically, challenging myself to find substantive ways for visitors to contribute to our museum. And when I think back on the past year, some of the most magical things that have happened at the museum have NOT been designed by us. We don't have to convince them that it's their museum.
About three months ago Beth Kanter wrote about the Crowdsourcing of Vision at the Smithsonian Museum. Hundreds of thousands, if not millions, of dollars have been spent on visioning, strategic planning, culture change initiatives, coaching and more effective internal communications. Jon Husbands is a Listener, watcher and facilitator.
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.
Doubleknot Doubleknot’s integrated software solutions are targeted toward nonprofits and cultural organizations, including zoos, aquariums, museums, science centers, botanical gardens, and so on. transaction fee. Nonprofits looking for just membership management might find the platform overly complex for their needs.
In 2008, I wrote a post arguing that museums should focus on the pre-visit, not the post-visit, if they want to capture and retain visitors. I said: In many ways, the ability to successfully set a powerful and useful expectation for museum experiences is MORE valuable than the ability to extend said experience. Reader, I was wrong.
Recently, I've been doing a lot of workshops with cultural professionals around the question of developing authentic relationships between institutions and visitors. This expresses itself most powerfully in museums when we talk about building relationships with visitors over time. How often do we remember to put out that second stool?
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.
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?" I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. and "why?" to "how?".
This is the penultimate installment of Museum 2.0's s book club on Elaine Gurian's collection of essays, Civilizing the Museum. But today, a conversation about the often sticky world of cultural interpretation with chapter 20, "A Jew Among Indians" How working outside of one's culture works."
This week''s guest post is written by Julie Bowen, VP of Experience and Engagement at the Canadian Museum of Nature in Ottawa. Years ago, I was running a workshop at a conference introducing a creativity technique to museum professionals. But it would never work in my museum because my boss would never go for it.”
The Smithsonian National Museum of African American History and Culture (NMAAHC) was planning the next installment of their already-successful and well-attended event, “A Seat at the Table.” For NMAAHC, the idea of “A Seat at the Table” happened conceptually before the museum even opened in 2016. It was March 2020.
We co-authored the “ Emerging Leaders Playbook ,” and I designed and facilitated a peer learning project. When you are a trainer, you are a designer and facilitator of learning experiences. This year’s work will build on this past year. So, this trip was a gift in terms of getting new ideas for instructional design.
On Musematic , Holly Witchey has rigorously recorded her recent experience at WebWise, a " IMLS/RLG/OCLC/Getty sponsored conference" on Libraries and Museums in the Digital World that was held March 1-2. To museum ears, this is fairly blasphemous--the idea that people want to use our content, not our exhibits. content providers.
In his thoughtful preface to this project, I reconnected with five lessons I''ve learned from participatory projects in museums and cultural sites. If there are museum objects and visitors'' objects on display together, all should be afforded the same level of exhibit design, labels, etc. Constrain the input, free the output.
I've written about different structures for participatory processes (especially in museums), and recently, I've been interested in how we can apply these structures to the design of public space. Their ideas were delightful, and their contributions shifted the conversation about what family-friendly really looks like.
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