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Children and teens who volunteer tend to have better health and lower levels of anxiety and fewer behavioral problems than those who dont volunteer. Tocqueville observed that Americans of all ages, all conditions, all minds were likely to unite in many kinds of groups or associations. Changing demographics The number of U.S.
Crisis Group :: @ CrisisGroup. National Campaign to Prevent Teen and Unplanned Pregnancy :: @ TheNC. National Museum of American History :: @ AMHistoryMuseum. Coalition for Iraq and Afghanistan Veterans :: @ CIAV. Coalition to Stop Gun Violence :: @ CSGV. Court Appointed Special Advocates for Children (CASA) :: @NationalCASA.
Ruth Cohen – American Museum of natural History. Jason Eppink – Museum of the Moving Image. Trying to engaged the teen-to-twenty-something who normally may not use the research library. So much of the project was really about convening social groups and we see it continuing. Learning Science by Design.
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.
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."
Last week, I gave a talk about participatory museum practice for a group of university students at UCSC. During the ensuing discussion, one woman asked, "Which audiences are least interested in social participation in museums?" Many teens love to perform for each other. They like to do and touch and make.
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. YES students defy expectations.
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.
Facebook groups have become a gray market for the country’s weed dealers One weekend about a year ago in Balangoda, a misty mountain town outside Colombo, the Sri Lankan capital, Sanjana was supposed to meet a dealer she found on Thriloka Wijaya Pathra , a Facebook group for cannabis users in Sri Lanka. Perhaps he went behind the bars.
Like a lot of organizations, my museum struggles with two conflicting goals: The museum should be for everyone in our community. It''s still grouping. At the Santa Cruz Museum of Art & History , we''re approaching this challenge through a different lens: social bridging. But ultimately, that''s still targeting.
Over the past year, I've noticed a strange trend in the calls I receive about upcoming participatory museum projects: the majority of them are being planned for teen audiences. Why are teens over-represented in participatory projects? Why are teens over-represented in participatory projects?
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.
Last Friday, I witnessed something beautiful at my museum. A group in their late teens/early 20s were wandering through the museumwide exhibition on love. When I walked by the first time, the teens were collaging and Kyle and Stacey were talking. At museums, we mostly bond with the friends and family with whom we attend.
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.
Maybe it's a live music concert, or a museum visit, or a play. Museums and other venues are offering special programs for teens, for hipsters, for people who want a more active or spiritual or participatory experience. You have a great time. What will it take for you to do it again? External schedule or pressure.
From a museum perspective, I think there's a lot to learn from these venues' business models, approach to collecting and exhibiting work, and connection with their audiences. The library is run in the lobby of a theater company by a group of volunteers led by Nell Taylor.
I tell the story of the one-man band because I think many museum professionals feel like him. But, most importantly, few museum professionals have a free hand or moment. Museums rarely have the funding to replicate positions. If you have a teen program running, there are no second teen programs person out drumming up business.
Last Friday night, my museum hosted a fabulous (in my biased opinion) event called Race Through Time. We created Race Through Time in partnership with a local networking group called Santa Cruz Next , whose primary aim is to support and celebrate ways that young professionals can and are changing our community for the better.
But I’d been scribbling notes for an art museum label post for awhile, and then yesterday, the NY Times had a review of a new show at MOMA, Comic Abstraction. The collection is disaggregated, grouped by floor (Painting and Sculpture 1) rather than artist, movement, time period, or geography. MOMA has standard art museum labels.
There's the barrier of the concern that this work is "social work" and not art--and therefore doesn't belong in a museum or a theater. He got to see the museum process from the inside. One of the institutions that really impresses me in supporting this kind of social change through the arts is, strangely enough, a children's museum.
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. The education department wanted a website for their Civic Engagement Initiative, and a blog seemed like a good match.
It's not every day that a visitor buys pizza for everyone in the museum. Or that we take a group photo together at the end of the day. Then again, Saturday was hardly normal at the Santa Cruz Museum of Art & History. The museum itself was well-integrated into the event. It was pretty freaking amazing.
I've long believed that museums have a special opportunity to support the community spirit of Web 2.0 This month brings three examples of museums hosting meetups for online communities: On 8.6.08, the Computer History Museum (Silicon Valley, CA) hosted a Yelp! Me: Have you ever been to this museum? meetup for Elite Yelp!
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
Thanks to Bryan Kennedy from the Science Museum of Minnesota for providing this overview/reflection on the Museums and the Web conference that recently concluded in Montreal. Museums and the Web 2008 guest blogger Bryan Kennedy here. The Walker Art Center is turning its teen website over to the teens.
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. So many museum exhibitions relegate the participatory bits in at the end. The Love Lounge I LOVE. with sharpies.
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.
James Yasko is writing an article for an upcoming issue of Museum News on museums and Web 2.0. Here's the question: What advice do you have, as one who keeps up with technology as it relates to museums, to a group looking to incorporate Web 2.0 into their repertoire? into their repertoire? And my response.
This summer, I worked with the Chabot Space & Science Center on a design institute in which eleven teens from their Galaxy Explorers program designed media pieces for an upcoming Smithsonian exhibition on black holes. There was no initial design, no graphics, and no idea of where the teen' work would fit into an overall structure.
One of the best personal brands that I’ve seen on Instagram from a nonprofit leader is Thomas P Campbell the CEO of the Metropolitan Museum. This shot is a painting at a museum visited during a professional conference for museums. This shot is from a program for teens that the met sponsors, #metteens.
Later, when were chatting with a small group of people in the lobby, we noticed a group of teens walking by looking a little sad. Then once they visit have such a great experience that they want to stay connected with the museum through social channels. @rauldemolina : These kids didn’t make @labanda !
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.
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. We made a giant mobile for the center of the museum out of origami birds folded from visitor comments received in the past year.
Here's one of my favorite stories about the London Science Museum and their work to make their science shows relevant to families with deaf or hearing-impaired family members. Think of the Subjects to Change teen program, or the free lunches at the Cleveland Public Library. This chapter appears midway through the book.
Rabinowitz commented that "as a 40-year veteran of history museum interpretation, I can say that I never learned so much from and about visitors." This is the opposite situation of the previous design goal, one typical in science and children's museums.
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. A focus group.
I''m getting ready for the American Alliance of Museums conference later this month. Last year, my colleague Elise Granata and I set up a very simple LinkedIn group to help people make productive connections at AAM. Here''s how it works: Join the LinkedIn group (if you are searching, it''s called "Hack Your Hello''s at AAM").
Last month, the Christian Science Monitor published an article entitled, "Museums' new mantra: Connect with community." It took me a couple weeks (and various museum blog responses ) to realize what bugs me about this article--it treats "connecting with community" as a marketing ploy, a "mantra" rather than a mission.
Every museum has a number for its operating cost per visitor. Most museums don't strategically set this number--too many operating costs are fixed by building needs--but they can use it to assess how expensive each visitor interaction is and evaluate the efficacy of programs. So where do online initiatives fit in?
You can join the conversation in the blog comments, or on the Museum 2.0 We now share our building with 6 other groups, each of them bringing science to the public in a different way. As I left the building I was met with over a hundred teens hanging out, laughing and talking in this space. Facebook discussion board here.
The essays in this section, on “Expressing and Co-Creating,” present projects in which visitors create exhibition content, contribute to its creation, or get a heavy done of meaning-making in their experience of museum content. Who controls the content in the museum? Who controls the museum experience? First, museum content.
I just returned from the American Association of Museums (AAM) annual meeting in Philadelphia. I led two sessions, one on visitor co-created museum experiences, and the other on design inspirations from outside museums. what is the value of the exhibition experience to non-participants, that is, regular museum visitors?
Our entire strategy at the Santa Cruz Museum of Art & History is rooted in community participation. We invite diverse locals to share their creative and cultural talents with our greater community at the museum. Teens advocating for all-gender bathrooms. Printmakers leading workshops. HOW DO YOU DEFINE COMMUNITY?
This week, we're looking at the first section, Talking Back and Talking Together , which features comment boards, talk-back walls, and discussion forums at a variety of museums. At the Boston Museum of Science's video kiosk on wind power, 3/4 of people were most interested in making their own video (as opposed to watching others).
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