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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.
What if museums were curated and funded by the internet, and allowed pieces to stay close to their cultural roots, displayed in a context that made sense? Native art in native museums, religious artifacts shown in temples, mosques and churches, and so on? This idea evolved into having an on-chain Museum,” says McLeod.
Once upon a time, there was a beloved children’s museum in the middle of a thriving city. The brilliant team at the museum set out to find a bigger space and ran a successful capital campaign to expand to a much larger location. Like the set of the movie Night at the Museum , these guests had the whole museum to themselves.
To fight back against the plagiarism and dispossession of Indigenous art, Mexico has approved a law meant to protect and safeguard the cultural heritage of Indigenous and Afro-Mexican peoples and communities. Cultural works are continually being recreated and revised. Whether the law actually works is another question.
I'm working on a keynote address for next week's Mid-Atlantic Association of Museums conference in Baltimore. The speech is in memory of Stephen Weil, one of the giants of contemporary American museum thinking--a radical in a bowtie who strove to "make museums matter." That is what makes a problem important.
When basketball players are offering more cogent commentary on racial issues than cultural institutions, you know we have a cultural relevance problem. Museums are a part of this educational and cultural network. Colleges are addressing greater cultural and racial understanding in various courses.
Or maybe hello museum world! Previously, I had worked at the same museum for 17 years.) So, when you visit more than 300 museums, parks, and historic sites, what do you learn? This week, I wanted to start with us, museum and cultural workers. Hello World! The metaphor certainly works in terms of filling big shoes.
I feel strongly that there are huge issues with racial and ethnic diversity in museums and arts organizations that deserve a million more posts. One was a conference on pushing our practice in art museums. In library- and museum-land, the participants were 80-90% women. This is a problem. That's why I wrote this.
Forum One’s 11 awards included two platinum, five gold, and four silver awards across focus areas, including cultural institutions, health and wellness, environmental awareness, and government. These awards honored Forum One’s work in building websites, digital tools, and virtual experiences for our clients. Endowed by Dr. Ruth J.
Last week''s New York Times special section on museums featured a lead article by David Gelles on Wooing a New Generation of Museum Patrons. In the article, David discussed ways that several large art museums are working to attract major donors and board members in their 30s and 40s. David describes himself as a "museum brat."
These two adages were both in my mind last week when I asked people for the worst museum trends. In this decade museums worst trends were in labor and tech: 1. Susan Spero brought up the cost tuition rises had to the field: The rise in tuition which in turn has meant that museum studies programs have taken a huge hit.
Photo Source: Indianapolis Museum of Art Blog. That's the cultural norm in the nonprofit sector, with a couple of exceptions. The Indianapolis Art Museum has been doing just that by sharing its institutional dashboard out for everyone to view. In October, the Indianapolis Art Museum Dashboard celebrated its' second year.
Still, there are hindrances to the overall development of the ecosystem, including under-developed infrastructure, limitations of the education system, lack of protection for intellectual property, all of which found their place within JP’s analysis of the problem.
"If we start losing cultural diversity, we begin to lose our whole sense of community because community is defined by culture. My dad is the co-founder of the Global Center for Cultural Entrepreneurship. They also enrich the community's culture, and they use cultural capital. That's cultural entrepreneurship."
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.
Already, the website has a wide variety of users like the Museum of Modern Art , comedy host Alexis Gay , the Abolitionist Teaching Network , activist Nupol Kiazolu , and a Malaysian virtual dance club. In its current state, Playground helps users find both online and in-person events to attend with cultural institutions and creators.
More and more, we’re seeing mission-driven organizations identify opportunities to partner with other organizations to centralize previously disparate data sets to connect the dots to help solve industry-wide problems. Making content more accessible than ever.
This conversation came about after Seth's provoking post " The Problem with Non " took a swing at nonprofits for lack of adoption of social media, saying it was all due to fear. Our patience with the lack of innovation that is the problem. These " Ask the Expert " chats take place on the phone with a online chat back channel.
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.
What happens when a formal art museum invites a group of collaborative, participatory artists to be in residence for a year? Will the artists ruin the museum with their plant vacations and coatroom concerts? But for museum and art wonks, it could be. Will the bureaucracy of the institution drown the artists in red tape?
TCG is the industry association for non-profit theaters, the way AAM is for museums. Given TCG''s multi-year Audience (R)evolution initiative, I took the opportunity to write a new talk about what revolution has looked like at our small museum in Santa Cruz. We heard again and again that the museum was cold and uncomfortable.
While many American museums require 37.5 But, on the other side, as Phillip Thompson said in our panel last week, our business model sets up problems, as we are always trapped by the amount of money we can raise. In the last twenty years, or so, professionalization has changed museum work. In an old life, I took plenty of stats.
This kind of research has two big problems: It puts most of our assessment capacity into research for someone else, on someone else''s terms. Consider the recent research at the University of Arkansas about the value of school field trips to cultural institutions. She didn''t need data to believe in the value of museums.
When you find a bar with your favorite song on the jukebox, or a museum room that feels like your grandmother's living room, you suddenly feel a strong affinity and are able to see yourself reflected in the space. Of course, the problem with all of this is that it sounds crazy from a business perspective.
Architecture is, at its core, about problem-solving: balancing aesthetics, functional needs, and technical constraints to create effective buildings and environments. Explore the full 2025 list of Fast Companys Most Innovative Companies , 609 organizations that are reshaping industries and culture.
This week, the National Committee for Responsive Philanthropy released a new paper by Holly Sidford called Fusing Arts, Culture, and Social Change. This is one of those important problems we were talking about last week. All of these questions and barriers are worth grappling with and debating among cultural practitioners.
Or put even more simply, HoneyBee aims to give HR and DEI leaders that say they are committed to creating an equitable and inclusive culture a way to provide access to financial tools and education to help improve their employees’ financial health.
Two weeks ago, we inaugurated a Creativity Lounge on the third floor of our museum. Lisa was thrilled that her work was on display at the museum. We started a pretty fascinating (and yes, a little frustrating) dialogue about the puzzle and the question of what constitutes desired engagement in the museum.
We're in the business of finding a solution to this problem. I'm trying to reposition our museum as a cultural hub supporting creative and intellectual community growth. These museums work differently. I was amazed not only by her energy and intelligence but by her simple, transformative goal: to end homelessness.
Last week I had the opportunity to attend and present at the Association of Children’s Museums annual conference, #interactivity2014, with Julia Kennard, CFO from EdVenture, Carole Charnow, President and CEO from Boston Children’s Museum and Katie Boehm, Annual Fund & Events Manager from KidsQuest. The only problem?
The Western Museum Association was kind enough to invite me to speak on a panel about engagement at their annual meeting in Boise. Phillip’s early remark about museums was an invocation for everyone. As an outsider, he immediately saw that museums were operating “under a business model that doesn’t work.”
I once asked Elaine Gurian how museums can change. Here's the problem with both of these ways: they require circumstances that are outside of most museum employees' control. Here's the problem with both of these ways: they require circumstances that are outside of most museum employees' control.
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.
The "Magritte and Contemporary Art: The Treachery of Images" exhibit at the Los Angeles County Museum of Art manages to both celebrate and betray fair use at the same time. The pro remix message: Culture is well-served by liberal rules that let one person remix another's creation. It's really out of our hands.
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.
Particularly in an age of cultural and political division, Bedoya argues that leaders in the arts need to responsibly and boldly intermediate among many voices, using a combination of ethics and aesthetics to make policy and artistic decisions. Adam argued for museums to become "less visitor-oriented," and I argued the opposite.
Now, not all of you will get to spend every other week for months chatting with Rob about museums, but I wanted to offer you a slice of how wonderful that can be. This week Rob will share some ideas about museum work. The Activity Level Discussion in Museums: Is a Role Marketplace an Answer? Is the problem too many exhibitions?
Museums have been grappling with this question for years ( here's a 2007 roundup of such projects ), most aggressively in zoos and natural history museums where staff hope to inspire conservation and in history/concept museums that focus on civic engagement and activism. No small task for a museum exhibition.
About three months ago Beth Kanter wrote about the Crowdsourcing of Vision at the Smithsonian Museum. A crowd made up of diverse people with as many perspectives as there are people can, when faced with a question, problem or idea, generate a coalescing of sense and thence a consensus.
Many organizations have realized that online sales can offset this problem. My kids love to print helmet stickers at the local fire museum and I’m inclined to add my email address to get it sent to my inbox for a record of our visit. The capacity problem. Have you encountered and of these problems?
The book looks at how individuals can avoid burnout through self-care and how nonprofits can support it – through activities that promote well-being, cultural cues, or an overall strategy. How cultural norms influence participation. A team culture that prioritizes collaboration and excellence. ½
This is the third in a four-part series about writing The Participatory Museum. 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. Check out the other parts here.
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?
And while many of us are busy making our personal New Year’s resolutions, we should also be thinking of how to be more successful , well-rounded cultural executives. To help, here are some thought-starters from the Blackbaud Arts & Cultural team – along with a sneak-peek at what we have planned for 2020 so far. . .
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