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Earlier this year, I was fascinated to read the account of a participatoryproject 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?
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. Better yet, the graduate student who led this project, Anna Greco, documented the whole project and did in-depth analysis of the visitor contributions.
Nina has written a fantastic book engagement called The ParticipatoryMuseum. Imagine sitting around a conference table planning an upcoming project that involves user-generated content. A third argues that the project won’t be truly participatory unless users get to define what content is sought in the first place.
In many cases, once the final project is launched, it's hard to detect the participatory touch. The exhibition or program is of high quality, and from the visitor perspective, it may look like museum as usual. Not every participatory process has to scream "look at me!" In some ways, this is a good thing.
He casts the whole idea of a great jazz jam in the context of the tragedy of the commons--like a poetry open mic, the jazz club is a community whose experience is fabulous or awful depending on the extent to the culture cultivates and enforces a healthy participatory process. This is an issue we are actively grappling with at our museum.
The best participatoryprojects are useful. Rather than just doing an activity, visitors should be able to contribute in a way that provides a valuable outcome for the institution and the wider museum audience. This week, I saw a great example at the Jane Addams Hull-House Museum that blew me away with its power and simplicity.
In 2009 , students built a participatory exhibit from scratch. Thirteen students produced three projects that layered participatory activities onto an exhibition of artwork from the permanent collection of the Henry Art Gallery. You can explore the projects in full on the class wiki.
But not enough people care about it anymore, and the museum is fading into disrepair. The Silk Mill is part of the Derby Museums , a public institution of art, history, and natural history. Many people would look at the world''s oldest mechanized silk mill and say that the core content of the museum is silk. What do you do?
There are many artistic projects that offer a template for participation, whether a printed play, an orchestral score, or a visual artwork that involves an instructional set (from community murals to Sol LeWitt). One of the things I always focus on in participatory exhibit design is ensuring that everyone has the same tools to work with.
Submitted by Nina Simon, publisher of Museum 2.0. I’ve had it with museums’ obsession with open-ended self-expression. When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. And yet many museums are fixated on creators. You see the overall value of the project.
This question is a byproduct of the reality that most participatoryprojects have poorly articulated value. When a participatory activity is designed without a goal in mind, you end up with a bunch of undervalued stuff and nowhere to put it. The project is designed to scale. What's the "use" of visitors' comments?
A new company in New York, Museum Hack , is reinventing the museum tour from the outside in. They give high-energy, interactive tours of the Metropolitan Museum and the American Museum of Natural History (AMNH). The tours are pricey, personalized, NOT affiliated with the museums involved… and very, very popular.
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.
I’ve had it with museums’ obsession with open-ended self-expression. When I talk about designing participatory experiences, I often show the above graphic from Forrester Research. And yet many museums are fixated on creators. Museums see open-ended self-expression as the be-all of participatory experiences.
I spent last week working with staff at the Minneapolis Institute of Art (MIA) on ways to make this encyclopedic art museum more open to visitor participation across programs, exhibitions, and events. While there, I was lucky to get to experience a highly participatory exhibition that the MIA mounts once a decade: Foot in the Door.
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.
This morning, I checked in on the Pocket Museums on our museum's ground floor. This simple participatoryproject invites visitors to contribute their own small objects in little alcoves in our bathrooms. The Pocket Museum activity could be more appropriate for women, many of whom carry bags or purses.
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.
Yesterday, I had the delightful opportunity to participate in the 3six5 project , a yearlong participatoryproject in which 365 people write 365 journal entries for every day of 2010. Techies knew about the project first and were most likely to sign up for early dates on the calendar.)
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.
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. And the projects themselves are brilliant.
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
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).
Every day for the past two months, a man has entered the largest gallery in my museum. His project, Is It Necessary? It also complicates the question of what is acceptable in a museum. If an artist can come into a museum and smash stuff, what does that tell visitors? But art museums are coming back from the dead.
Last month, I learned about a fabulous, simple participatory experiment called “Case by Case” at the San Diego Museum of Natural History that uses visitor feedback to develop more effective object labels. I hope you are as inspired as I am by this project! Our problem is this. Where to now?
This is the second in a four-part series about writing The ParticipatoryMuseum. Several hundred people contributed their opinions, stories, suggestions, and edits to The ParticipatoryMuseum as it was written. But there were 52 people who spent several hours working on the project as content reviewers or copy-editors.
Pop-Up Museum [n]: a short-term institution existing in a temporary space. Over the past few years, there have been several fabulous examples of pop-up museums focusing on visitor-generated content. Maria Mortati runs the wonderful SF Mobile Museum , which roams the Bay Area showing mini-exhibits on evocative themes.
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 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.
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.
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.
Two weeks ago, my museum was featured in a Wall Street Journal article by Ellen Gamerman, Everybody''s a Curator. I''m thrilled that our small community museum is on the map with many big institutions around the country. I''m glad to see coverage about art museums involving visitors in exhibitions. Community is not a commodity.
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. I couldn't drop the project for months or abandon it entirely. Check out the other parts here.
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.
Digital activism is defined by the Meta-Activism Project as “the practice of using digital technology for political and social change.&# She is the founder and executive director of the Meta-Activism Project. I’m honored to be working with her on a training project that I’ll share more about in 2011.
"The words we use in attempting to change museum directions matter. Our museum in Santa Cruz has been slammed by those who believe participatory experiences have gone too far. I am glad this conversation is happening and that both museum professionals and local Santa Cruzans are engaged. But we do have ''and.''
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. Participatory work can be very labor-intensive.
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.
Courageous speakers from dozens of countries described bold, participatoryprojects. El Museo Reimaginado is a collaborative effort of museum professionals in North and South America to explore museums' potential as community catalysts. I find North American museums to be risk-averse.
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.
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?
It''s not a great photo of people enjoying the museum. At any given time, we are on a hunter/gatherer mission for an upcoming project at our museum. But on another level, the wishlist is the most participatory part of the newsletter. It''s not what you think. It''s not a witty description of an upcoming event.
One, from a museum director. PARTICIPATORY: can people get involved or contribute to it? Heck, no museum exhibition hits them all. High participatory quality, low technical quality. Define what quality means for your goals, for your project, for your institution. Core Museum 2.0 Engaging new people.
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