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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. As one participant said, "the museum feels friendly in a way it usually doesn't."
--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.
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. Better yet, the graduate student who led this project, Anna Greco, documented the whole project and did in-depth analysis of the visitor contributions.
At the Santa Cruz Museum of Art & History, we take our interns seriously, give them real responsibility, creative challenges, and meaningful work opportunities. I'm particularly excited about two internships that relate to participatory exhibition design. You don't have to be a student to be eligible. Exciting, right?
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. Copy editors tended to be younger and included several students. Check out the other parts here.
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).
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.
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
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?
Like a lot of organizations, my museum struggles with two conflicting goals: The museum should be for everyone in our community. At the Santa Cruz Museum of Art & History , we''re approaching this challenge through a different lens: social bridging. Museum of Art and History programs social bridging'
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.
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.
Last week, I gave a talk about participatorymuseum 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?"
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.
A former superintendent of such a district, he explained the basic premise to me: each student, from kindergarten on, has a personal laptop. The schools have open wireless internet, so each student has continual access to the Web. To understand more, I turned to Elaine Gurian's article The Molting of Children's Museums?
A museum holds a free program in a semi-public space. Last weekend, my museum did a little pilot of a new program, Downward Draw. We held a free yoga class in the plaza outside the museum and invited artists to come and draw/paint the yoga-doers in motion. Ready for a math problem? How many people participated? They asked.
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.
Take five minutes and learn how the Science Museum in London created better experiences for deaf visitors. I love hearing about staff, board, and student discussions prompted by the book, and I want to make it easy for you to have them. The chapters are short stories, and most can stand alone. Or how Food What?!
We're seeking great folks for public programs, participatory exhibit design, online marketing, 3D design, and whatever else you might have to offer. I had a bit of a wakeup call about internships last month at an "emerging leaders" lunch event at the Mid-Atlantic Association of Museums conference. I wanted freedom and responsibility.
Way better than that video at Museum X where the director drones on about the new initiatives of the year. This article sparked some interesting discussion online with colleagues from natural history museums, which deal with damage and touching very differently than art institutions do.
Last Friday, I witnessed something beautiful at my museum. I've been documenting lots of small bridging incidents at our museum over the past few months. It could have been the attitude of the museum that supports participation and conversation. At museums, we mostly bond with the friends and family with whom we attend.
It started as a handout for a session that Stacey and I are doing at the California Association of Museums, and then I realized it was so darn useful that it was worth sharing with all of you. The majority of our public programs at the Santa Cruz Museum of Art & History are created and produced through community collaborations.
I'm working on a personal project (slowly) to open a cafe/bar venue that is also a design incubator for participatory exhibits. My goals are two-fold: to develop a dynamic, creative, social platform for my community and to distribute its successful elements to other civic learning institutions (museums, libraries, community centers).
In April, I gave 13 UW graduate students a simple challenge: make an exhibit that gets strangers to talk to each other. Last month, student Nicole Robert wrote about the concept for Advice: Give it, Get it, Flip it, Fuck it. The exhibit experienced low traffic overall in an odd area of the UW student center.
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. Which community?
You can participate in this experiment from anywhere in the world (I’ll be in Seattle at the zoo with a group of grad students). We tried this at the Denver Art Museum last week, and it is incredibly challenging—you can’t just put out a box of chocolates and expect people to talk.
On Sunday April 5, I’ll be conducting a collaborative experiment with 15 intrepid University of Washington graduate students, and I’d like to invite you to join in from your own hometown. I want to connect these students to a larger group of people interested in exploring topics around social technology in museums.
When I talk about the hierarchy, I use the theoretical construct of an issue-based museum exhibit. At level one, the museum preaches to visitors about the issue. Last week, I visited a museum with an exhibition that powerfully illustrated the barriers that prevent people from jumping from level three to level five.
For many museums, visitor research--how people use the museum, navigate exhibits, and understand content--may be an equally important arena in which to adopt groundswell listening techniques. I spent an hour this morning "brand listening" to what the online world says about one of my favorite museums, the Exploratorium.
For the past two years, I''ve been working on a project to activate the concrete space adjacent to our museum as a vibrant, community plaza. The ideal candidate has a good grasp of our local artistic assets in Santa Cruz County, a knack for participatory placemaking, and enthusiasm about putting on a show. multiple times per week.
principles that has turned the web from pushed to participatory. we will have witnesses and student-lawyers speak in text under disciplines of civility and rules of evidence, subject to objection by opponents and ruling by the judge, who will be me. Why did these and others fail and why is Second Life really pointing the.
There are lots of great science museum resources, but not where these kids can walk after school. Over 30% of our staff statewide are either former Workshop students or parent volunteers. For example, the Exploratorium is an extraordinarily participatorymuseum, but it''s not nearly as participatory as a Community Science Workshop.
I spent last week in the glorious country of Taiwan, hiking, eating, and working with museum professionals and graduate students at a conference hosted at the Taiwan National Museum of Fine Arts. It's not topic-specific; I've done these exercises with art, history, science, and children's museums to useful effect.
One of the best projects that illustrates the basic idea of Web2.0 - listening and conversation and stakeholders creating their own experience with your organization - comes from the Brooklyn Museum of Art. o is Transparency - and the best example of that is what the Indianapolis Art Museum has done with its pubic metrics on its web site.
Every once in a while I come across a project I wish I could have included in The ParticipatoryMuseum. For one year, a group of twelve schoolchildren age 9-11 were invited to work with staff at the Wallace Collection to develop a family-focused exhibition using the museum's artifacts. it's a Secret! , What made Shh.
Museums (and libraries) are trusted sources of information. In February 2001, AAM commissioned a study about the trustworthiness of museums and found that "Almost 9 out of 10 Americans (87%) find museums to be one of the most trustworthy or a trustworthy source of information among a wide range of choices.
Contrasting that rich human narrative with the kind of gleamy tweaky technology narrative that was emerging from the NISE-NET meeting made me realize that generally speaking, science museums ignore many of the aspects of life that are the most resonant--mortality, sex, humor, tragedy, pity, joy. So we had the key players.
Every other year, they convene TUPAC, a group of 35 outside advisors, including teens, college students, Temple University professors, artists, philanthropists, and community leaders. Some students folding clothes. They live their mission, working in questions and projects rather than exhibitions and programs. Empty pegboards.
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