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I had too look no further than Shelley Bernstein's blog over at the Brooklyn Museum to find some thoughtful experimentation and useful examples. Back in December, the Brooklyn Museum started to experiment with FourSquare running a promotion to get people to check in and get a free membership.
a local currency issuer. Then as now, the idea behind BerkShares was to galvanize residents in Pittsfield, Great Barrington, and surrounding areas to purchase more goods and services locally. The local currency could be converted into US dollars but is designed to be spent directly in the area. The experiment proved successful.
Last week, I visited the Wing Luke Asian Museum in Seattle. I've long admired this museum for its all-encompassing commitment to community co-creation , and the visit was a kind of pilgrimage to their new site (opened in 2008). I'm always a bit nervous when I visit a museum I love from afar. What if it isn't what I expected?
--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.
Earlier this year, I was fascinated to read the account of a participatory project at the Morrison County Historical Society in Minnesota, in which community members were invited to write essays about “what’s it like” to have various life experiences in the County. How did this project get started? How do we get the history of the poor?
Visitors bond and bridge through participatory experiences at MAH. I chose to focus my thesis on Community and Civic Engagement in Museum Programs. The purpose of my thesis was two-fold: To research and analyze community and civic engagement practices, methods, theories and examples in other museum programs.
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. The project was linked to a larger exhibition, Santa Cruz Collects , about why local folks collect things. He shares a story. He puts it on the wall.
This person is writing about a participatory element (the "pastport") that we included in the exhibition Crossing Cultures. We did three things to supplement Belle''s paintings (installation shots here , peopled shots here ): We issued a call to locals who are immigrants, or whose family immigrated, to share an artifact and story with us.
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 final segment in a four-part series about writing The ParticipatoryMuseum. This posts explains why and how I self-published The ParticipatoryMuseum. COST: Museum books tend to be expensive - because they are printed in small runs, the price for a 400-page paperback can be as high as $40.
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.
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).
One of the greatest gifts of my babymoon is the opportunity to share the Museum 2.0 First up is Beck Tench, a "simplifier, illustrator, story teller, and technologist" working at the Museum of Life & Science in Durham, NC. As a person who works for a science museum, I work in an environment that supports play.
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.
Stacey has been collaborating with local artists to produce a series of content-rich events that invite visitors to participate in a range of hands-on activities. But I honestly believe that visitors telling visitors what they get out of museum experiences is the most effective and authentic way to share what happens in a community museum.
Recently, we''ve been talking at our museum about techniques for capturing compelling audio/video content with visitors. It made me dig up this 2011 interview with Tina Olsen (then at the Portland Art Museum) about their extraordinary Object Stories project. We ended up with a gallery in the museum instead. That is more curated.
During a workshop on museum visitor participation, someone spoke up and objected: "this might work in California, but it will never work in Texas." I saw how participatory techniques were working in diverse museums around the world. Cultural differences can play out on local levels as well. This is a human desire.
Yesterday, I had the delightful opportunity to participate in the 3six5 project , a yearlong participatory project in which 365 people write 365 journal entries for every day of 2010. Participating in this made me wonder: could a museum or library run a project like 3six5? Complexities of project management.
For years, I'd give talks about community participation in museums and cultural institutions, and I'd always get the inevitable question: "but what value does this really have when it comes to dollars and cents?" We're hearing on a daily basis that the museum has a new role in peoples' lives and in the identity of the county.
Earlier in 2013, I was amazed to visit one of the new “Studio” spaces at the Denver Art Museum. The Denver Art Museum is no stranger to community collaborations, but we’ve been dipping in our toe a little more deeply when it comes to developing permanent participatory installations.
This week at my museum, as we are wrapping up our current set of exhibitions on collecting, I noticed a simple, subtle example of this that I thought might interest you. One of the collections on display is a set of "found lists" collected by a local farmer, Danny Lazzarini. Our current exhibition is about why people collect things.
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.
Over the past year, I've noticed a strange trend in the calls I receive about upcoming participatorymuseum projects: the majority of them are being planned for teen audiences. Why are teens over-represented in participatory projects? Teens are a known (and somewhat controllable) entity.
This post was written by Jaime Kopke , the founder/director of the Denver Community Museum , a pop-up community-generated institution that ran from Oct 2008-April 2009. The Denver Community Museum (DCM) was a grassroots operation in almost every sense. This post shares her reflections on the project, its design, and its impact.
Submitted by Nina Simon, publisher of Museum 2.0 On Friday, I offered a participatory design workshop for Seattle-area museum professionals ( slides here ). We concluded by sharing the tough questions each of us struggl es with in applying participatory design techniques to museum practice. That's why I asked.
I like to ask myself this question periodically, challenging myself to find substantive ways for visitors to contribute to our museum. To that end, our exhibitions are full of participatory elements. 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.
It's not every day that a visitor buys pizza for everyone in the museum. Then again, Saturday was hardly normal at the Santa Cruz Museum of Art & History. The museum itself was well-integrated into the event. Or that visitors form a spontaneous "laugh circle" on the floor. Online to onsite migration isn't always easy.
Two weeks ago, we inaugurated a Creativity Lounge on the third floor of our museum. The same day we opened the Creativity Lounge, we opened new exhibitions throughout the building, including a paper collage show in the 3rd floor lobby by local artist Lisa Hochstein. Lisa was thrilled that her work was on display at the museum.
I've now been the Director of The Museum of Art & History in Santa Cruz for two months. Yesterday, a lovely article came out in the local paper about what we're trying to do to become a thriving community hub. It wasn't that Simon was throwing out the housekeeping rules of the gorgeous but often imposing downtown museum building.
There are many participatory kiosks that are functional black holes--visitors make videos or draw pictures or write stories, drop them in a slot, and. There are many participatory kiosks that are functional black holes--visitors make videos or draw pictures or write stories, drop them in a slot, and. nothing happens. nothing happens.
What does the word "participatory" mean to you? The various definitions of participatory projects can lead to confusion and misunderstandings. Participation in science research is a good basis on which to develop a framework for participatory models because it is based on a consistent scientific process with many steps.
There's a constant dialogue in participatory work about how to make peoples' contributions meaningful. 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.
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.
I'm heading this weekend to the American Association of Museums conference in Minneapolis. Here's what I'd love to explore at AAM this year: Event-driven models for museums. About 85% of visitors to our museum attend through a program/event. Participatory history programming. Participatory history programming.
How do you help visitors know what they can and cannot do in your museum? Most museums have this figured out: they have signs, they have guards, they have cases over the objects. And this works pretty well in science museums, where designers talk about "hardening" exhibits to withstand the more aggressive touchers among us.
We've been offering a host of participatory and interactive experiences at the Museum of Art & History this season. I loved Jasper Visser's list of 30 "do's" for designing participatory projects earlier this month. And the crayon drawings on the fridge door in an exhibition of award-winning local artists?
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.
On Friday, I offered a participatory design workshop for Seattle-area museum professionals ( slides here ). We concluded by sharing the tough questions each of us struggles with in applying participatory design techniques to museum practice. The most reliable question I'm using works in art museums.
Works are chosen and hung throughout the city using a unique venue matching system whereby local businesses, galleries, and organizations select the artworks they want to host. Now, after attending with museum friends from around the country, I'm hooked. Very few wrote in typical museum or even gallery-speak. The prizes?
Lots of museums these days have video comment booths to invite visitors to tell their stories, but how many of those booths really deliver high-impact content? Last week, I talked with Tina Olsen, Director of Education and Public Programs at the Portland Art Museum, about their extraordinary Object Stories project.
But we've just compiled all our attendance data for the past year at the Santa Cruz Museum of Art & History (our fiscal year ends on June 30), and several people have written to me asking for the numbers behind our turnaround. Now Friday nights at the museum have become something people can count on, and they keep growing.
It's rare that a participatorymuseum project is more than a one-shot affair. But next month, Britain Loves Wikipedia will commence--the third instance of a strange and fascinating collaborative project between museums and the Wikipedia community (Wikimedians). Some of these challenges were about mission fit.
This guest post, written by Philippa Tinsley, Collections Manager for the Worcester City Art Gallery and Museum (UK), describes the innovative Top 40 exhibition they mounted in the summer of 2009. In my experience, museum professionals aren’t big reality TV viewers. The following week it shot up the chart from number 40 to number 14!
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