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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. Sometimes it isn''t.
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."
Some of the entries of what you can read on the Walker Blog, may appear at first glance to be mundane details of cube life , but then you remember that it is a museum blog and it makes the institution seem more human. Eric suggested that I email his boss, Robin Dowden, Director of New Media Initiatives.
Executive Director. Teen Outreach Pregnancy Services. Most often, private operating foundations are organizations that operate museums, theaters, or arts centers, although any other charitable activity conducted directly by the foundation can qualify. " —Laura Pedersen.
But this job is really important to the future of our museum, and I’m hoping that you or someone you know might be a great fit for it. 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.
Instagram, the popular Millennial photo sharing site, is gaining traction with world leaders, government leaders and nonprofit executive directors. The visual nature makes it a perfect channel for executive directors to engage with their stakeholders. This shot is from a program for teens that the met sponsors, #metteens.
Last week marked four years for the Museum 2.0 People--especially young folks looking to break into the museum business--often ask me how I got here. Ed Rodley recently wrote a blog post about museum jobs entitled "Getting Hired: It's Who You Know and Who Knows You." hour at the Museum. I made $26/hour at NASA and $7.25/hour
This post features an interview with Sarah Schultz, a museum staffer at one of the institutions Light profiled in the book (the Walker Art Center). Sarah has worked at the Walker since 1992 and is currently the Director of Education and Community Programs. In the 1990s, we decided we wanted to engage a teen audience.
Creative professionals using DALL·E today range from illustrators, AR designers, and authors to chefs, landscape architects, tattoo artists, and clothing designers, to directors, sound designers, dancers, and much more. “It’s a mood board, vibe generator, illustrator, art curator, and museum docent,” Baskin says.
I spent the weekend queuing up posts for my forthcoming blog-cation--nine weeks of guest posts and reruns from the Museum 2.0 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.
For example: “Many teen girls struggle with their self-esteem thanks to Instagram and Snapchat. Please help us open the door for a teen to attend our personal development conference, benefit from having a mentor, and get on a path to college and a career.” . Executive Director . We are so excited for them! . Sincerely, .
Elaine Gurian once told me there are two ways for institutions to innovate: they can be so small that no one notices them, or they can have a director who is willing to put his/her neck on the line for the innovation. Maybe the director is obsessed with “company secrets” and you’ll never be able to share behind-the-scenes work.
Last week, Elaine Gurian and I talked about radical change in museums. She said it can happen in one of two ways—either the organization is small enough that no one will notice, or has a director with such strong vision they can charm and fund the pants off of a new idea. Braincake isn’t some fakey attempt to pander to teens.
For many museums, visitor research--how people use the museum, navigate exhibits, and understand content--may be an equally important arena in which to adopt groundswell listening techniques. I spent an hour this morning "brand listening" to what the online world says about one of my favorite museums, the Exploratorium.
On Tuesday, I reviewed Elaine Gurian’s essay, Choosing Among the Options , on museum archetypes and self-definition. Today, discussion with Elaine about ways museums choose their direction, how change is possible, and new museum types to be added to the list. What if you don’t want to be identified as one type of museum?
One of my favorite comments on the first post in this series came from Lyndall Linaker, an Australian museum worker, who asked: " Who decides what is relevant? Community First Program Design At the Santa Cruz Museum of Art & History , we've gravitated towards a "community first" program planning model. My answer: neither.
The recent flurry of restrictions that has sent teens fleeing? into the museum is the potential to encourage more positive in-museum interactions among strangers. I want in-person museum experiences to be more like experiences on social sites like Flickr, where strangers connect and form relationships around content.
The people were of all ages--moms with babies strapped to their fronts, six year-olds using skillsaws, pre-teens building robots, teenagers doing homework. I sat down with Emilyn Green, Executive Director of the Community Science Workshop Network , to learn more about their history, design, and engagement strategy.
That's what I found myself wondering again and again in the too-short hour I spent with the director of Temple Contemporary, Rob Blackson. Every other year, they convene TUPAC, a group of 35 outside advisors, including teens, college students, Temple University professors, artists, philanthropists, and community leaders.
Do Good Well is written by Nathaniel Whittemore who is the founding director of the Center for Global Engagement at Northwestern University. Nina Simon a proud member of Gen Y, writes the very awesome Museum 2.0 blog, but you don't have to be a museum person to get a lot of value from it. Nonprofit Programs and Social Actions.
A museum can be friendly, or serious, or funny, while maintaining a traditional relationship with visitors as consumers of experiences. Community galleries look old-fashioned because citizen curators aspire to emulate the most traditional vision of a museum possible. But it's far more typical to focus on just one.
I am a former development and marketing director. If you have a tween or a teen, I’m sure you’re familiar with TikTok. And not just museums jumped into that, it was a lot of different organizations. I’m a mom of two, Steven and I were just talking about this, 11-year-old and a six-year-old. Okay, TikTok now.
In fact, according to the Museum of London , shoplifters and suffragettes would have served sentences at Islington's notorious Holloway Prison around the same time in the early 1900s. That might be a modern read, but I'm intrigued. So, what did they do with all that loot?
They met as teens, formed as young adults, and called their group asconausea or disgust in Spanishafter one of their early DIY exhibits. All four founding members of Asco became some of the most notable Chicano artists, later exhibiting works in revered museums around the United States. Its not a thing. It doesnt belong.
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