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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. She told family stories.
--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. Really, it was about which stories we had good objects for.
It gave me a chance to really think about how we have been opening up our museum and what it means for our community. It's only 15 minutes, so I encourage you to watch it , but here are the crib notes for the video-adverse without the hilarious stories and charming photographs. Museums can be incredible catalysts for social change.
A man walks into a museum. He shares a story. He creates a visual representation of his story. Two years ago, we mounted one of our most successful participatory exhibits ever at the Santa Cruz Museum of Art & History: Memory Jars. Some of the stories were quickies, but others were powerful and personal.
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. How and why did Object Stories come to be?
The best participatory projects 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.
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.
This morning, I checked in on the Pocket Museums on our museum's ground floor. This simple participatory project invites visitors to contribute their own small objects in little alcoves in our bathrooms. A couple stories. The Pocket Museum activity could be more appropriate for women, many of whom carry bags or purses.
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. This is a problem for two reasons.
It has an incredible story. 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. They see it as the future of their museum. It is losing funding, attention, and relevance. It''s serious.
Nina has written a fantastic book engagement called The ParticipatoryMuseum. A third argues that the project won’t be truly participatory unless users get to define what content is sought in the first place. I’ve been using these participatory categories to talk about how we’d like users to participate in different projects.
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.
We’ve been doing a little experiment at our museum with labels. The Santa Cruz Surfing Museum recently loaned us some fabulous surfboards that tell the co-mingled history of surfing and redwood trees in Santa Cruz. We decided to approach the label-writing for these boards in a participatory way.
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.
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.
There were a number of online/offline participatory visitor experiences. At the Natural History Museum, we visited the David H. Koch Hall of Human Origins , an immersive, interactive journey through the origins of human beings and the dramatic stories of survival and extinction in the midst of earth’s history of climate change.
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 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.
Last month, the Irvine Foundation put out a new report, Getting In On the Act , about participatory arts practice and new frameworks for audience engagement. I've often been asked about examples of participatory practice in theater, dance, and classical music, and this report is a great starting point.
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 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. Other contributors were collegial and a valuable network of museum wonks has developed."
Museums have been grappling with this question for years ( here's a 2007 roundup of such projects ), most aggressively in zoos and natural history museums where staff hope to inspire conservation and in history/concept museums that focus on civic engagement and activism. No small task for a museum exhibition.
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).
It created an appealing body of stories about the event. As we try to build a brand for "3rd Friday" as an ongoing museum series, I feel like these photos, more than any other collateral, will help people understand what the event is like and what they might get out of it. Maybe this is good fodder for a future Museum 2.0
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.
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.
The book looks at how ICT can help solve global poverty issues in a range of fields, including disaster relief, health education, micro finance, and education. It is filled with great examples and stories from around the world. The book is well-researched and offers frameworks for thinking about how to link technology to a theory of change.
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. What plays well at one museum may fall flat a few miles away. This is a human desire.
What should we do with their post-its and stories and drawings and poems? This question is a byproduct of the reality that most participatory projects 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.
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. It combines personal stories with a sense of being part of something bigger. The project's originators call it "a crowdsourced journal of 2010."
Courageous speakers from dozens of countries described bold, participatory projects. 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. Pioneers of communitario museums.
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."
Jasper Visser and his colleagues at the not-yet-physically-open National Historisch Museum of the Netherlands have impressed me with their innovative, thoughtful approach to developing a dynamic national museum. Last weekend my museum presented itself at the Uitmarkt in Amsterdam.
I'm thrilled to share this brilliant guest post by Marilyn Russell, Curator of Education at the Carnegie Museum of Art. In a straightforward way, Marilyn explains how her team developed a participatory project to improve engagement in a gallery with an awkward entry. It is great to feel more of a part of the museum!" "All
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.
According to the blog justgiving.com there are 5 key motivators for giving: to support a particular organization, because we are inspired by other’s stories, to support a cause, to feel good, and. Working with arts organizations there are often concern that your constituent stories aren’t as impactful. to participate in an event.
On a recent trip to the Children's Museum of Pittsburgh, I noted a discussion board in the "Nursery" gallery. The questions are written for parents and caregivers to share tips, ideas, and stories with each other. For the Nursery discussion board, it's other adult visitors to the Children's Museum.
This week, the Santa Cruz Weekly's cover story is about my museum (the Santa Cruz Museum of Art & History ) and the work we have done to make it a more participatory, community-centered place over the past two years. Perry describes me as the "conductor" of a community-programmed orchestra.
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.
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?
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