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--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.
Stacey Marie Garcia came to the MAH first as a graduate intern in the summer of 2011. Visitors bond and bridge through participatory experiences at MAH. I chose to focus my thesis on Community and Civic Engagement in Museum Programs. You can download and read the full version of my thesis here.
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). I'm open to any questions you want to raise in the comments.
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.
A man walks into a museum. Two years ago, we mounted one of our most successful participatory exhibits ever at the Santa Cruz Museum of Art & History: Memory Jars. Two years later, this project is still one of the most fondly remembered participatory experiences at the museum--by visitors and staff.
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. Lovely grounds.
Beck''s project is unusual because he deliberately resurrected a mostly-defunct participatory platform: sheet music for popular songs. In his thoughtful preface to this project, I reconnected with five lessons I''ve learned from participatory projects in museums and cultural sites. Constrain the input, free the output.
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
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. This exhibition represents a few big shifts for us: We used a more participatory design process. We had some money.
It's the end of the summer, which means we are sadly bidding farewell to our fabulous summer interns, getting lonely and scared about how we will possibly do amazing work in the coming months without their brilliance, ingenuity, and creativity. And then comes the part where we recruit new interns , get blown away by their abilities.
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).
We have an intern, Kathryn, who emailed each participant individually to thank them for coming, shared their personal photo, and gave them the link to the rest of the photos. Instead of interns with clipboards tentatively approaching visitors who were busy having fun, the booth put feedback on visitors' own terms. you tell me.
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.
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.
This is the third in a four-part series about writing The ParticipatoryMuseum. This post covers my personal process of encouraging--and harnessing--participation in the creation of The ParticipatoryMuseum. As the participatory content review progressed well, I started looking for other ways for people to help.
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.
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.
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?
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.
Which of these descriptions exemplifies participatorymuseum practice? Museum invites community members to participate in the development and creation of an exhibit. But the difference between the two examples teases out a problem in differentiating "participatory design" from "design for participation."
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.
Imagine you've just been tasked with developing an innovative, future-thinking national museum for your country's history. Blueprint is the story of a group of people who tried to create a Dutch Museum of National History (INNL). The Museum directors released Blueprint as a showcase for these plans. Where would you start?
GIVE BACK by reporting out on what I have learned and how I am using the books, both internally (within my org.) 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.
On October 20, a young woman named Kate will move into Chicago's Museum of Science and Industry and live there for a month. This post is not about the Month at the Museum concept or implementation. Instead, this post focuses on a fascinating aspect of Month at the Museum: the video applications. That will come later.
Now that I'm on staff at a museum, I've (re)discovered a more pedestrian value of visitor participation: it's delightful. As a researcher and activist for participation, I've sometimes downplayed the value of this charm because it seems like arsenal for professionals who claim participatory projects are frivolous. "Be
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.
I've now been the Director of The Museum of Art & History in Santa Cruz for two months. But the point is that the MAH, like just about every other museum in the known universe, was content to define the museum experience as something removed from the outside world, a rarefied church-like space of refined artistic reflection.
Last month, MAH curator Susan Hillhouse and I sat down and wrote an exhibition philosophy for our museum. Here's the short version (read the whole thing here ): The Museum of Art & History is committed to creating exhibitions that inspire our diverse audiences to engage deeply with contemporary art and Santa Cruz County history.
We've gotten a little more organized at The Museum of Art & History , and we've now released opportunities for summer internships. These are unpaid part-time and full-time opportunities to help design public programs, develop new uses for the museum, perform visitor research, and pursue unusual projects.
Ready to turn your institution into a site of participatory engagement? specializes in designing museum experiences and exhibitions that are community informed, socially stimulating, technologically ambitious, and intriguingly experimental. Want to bring the spirit of this blog to your colleagues and projects?
The Leading Change Summit was more intimate (several hundred people), participatory and interactive, intense, and stimulating. I designed this exercise after a delightful experience visiting the Barnes Foundation Museum where the art work is hung on the wall in a way to facilitate pattern recognition and learning about art concepts.
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
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. Imagine this situation: You go to an arts event, one of a type you rarely or never take part in.
Now, after attending with museum friends from around the country, I'm hooked. Unlike most museum experiences, where people quietly absorb the work in a room, people were very comfortable pulling each other to specific pieces and extolling their merits or less inspiring qualities. Very few wrote in typical museum or even gallery-speak.
Photo by CLoé Zarifian, MAH Photo Intern We're working with a guest curator, Wes Modes , on an upcoming experimental project at our museum. Wes is an artist, and this is his first time running a museum exhibition development process. This is the question I ask myself anytime I'm working on something with a participatory intent.
People often ask me which museums are my favorite. It's not the extent to which they are participatory. I visit lots of perfectly nice, perfectly forgettable museums. In some cases, that's based on subject matter, as at the Museum of Jurassic Technology or the American Visionary Art Museum.
Consider three very different talkbacks in the Santa Cruz Museum of Art & History''s fall exhibition, Santa Cruz is in the Heart: cocktail napkins, rear view mirrors, and refrigerator certificates. design evaluation Museum of Art and History participatorymuseum usercontent' Total number across all three talkbacks: 0.
It's November, and that means we start looking around nervously at our fabulous fall semester interns and worrying about all the light that will go out of the world when they head back to school, home countries, etc. If you're interested in interning with me and my crew at the MAH in the coming months, please check out our offerings.
At the Santa Cruz Museum of Art & History (MAH), we've started experimenting with a "community first" approach to program development. Here are a few things that I think helped make this experience valuable: We started from communities' needs, not the museum's. We also had interns recording during the honeycomb exercise.
The whole day was spent in passionate discussion about research projects, international crises, and serious, cost-intensive efforts for zoos and aquaria to take action to improve the fate of elephants and other species at risk. fundraising participatorymuseum risk Technology Tools Worth Checking Out'
Every time a colleague tells me her museum has just hired a "community person," a part of me cringes. While subsequent museum staff have kept the project going, the community had connected with me as the focal point, and there has not been a new person who has been able to comparably rally the community to high levels of activity.
Hi folks, Seems like it's time for another Museum 2.0 The more I talk with cultural professionals about promoting experimental practice in community engagement, the more I hear that the obstacles are internal. If the problem is us, let's start 2011 with some ideas on how to change.
The weather is hopefully the least of the reasons you should want to come work with us here at the Santa Cruz Museum of Art & History. These are unpaid, part-time internships in which you will make a significant contribution to our work, and at the same time, learn a heck of a lot about participatory design and community engagement.
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