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This August/September, I am "rerunning" popular Museum 2.0 Diane is both visionary and no-nonsense about deconstructing the barriers that many low-income and non-white teenagers and families face when entering a museum. Most large American museums are reflections of white culture. blog posts from the past.
Last week''s New York Times special section on museums featured a lead article by David Gelles on Wooing a New Generation of Museum Patrons. In the article, David discussed ways that several large art museums are working to attract major donors and board members in their 30s and 40s. David describes himself as a "museum brat."
Diane is both visionary and no-nonsense about deconstructing the barriers that many low-income and non-white teenagers and families face when entering a museum. Most large American museums are reflections of white culture. Guards staring at black teens and grumbling about their clothes. YES students defy expectations.
specializes in designing museum experiences and exhibitions that are community informed, socially stimulating, technologically ambitious, and intriguingly experimental. I am available for consulting and strategic development, and creative design and leadership of exhibition, technology, and museum planning projects.
Last Friday night, my museum hosted a fabulous (in my biased opinion) event called Race Through Time. We created Race Through Time in partnership with a local networking group called Santa Cruz Next , whose primary aim is to support and celebrate ways that young professionals can and are changing our community for the better.
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' Why fight it?
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.
I tell the story of the one-man band because I think many museumprofessionals feel like him. But, most importantly, few museumprofessionals have a free hand or moment. Museums rarely have the funding to replicate positions. Museums are for people, after all. It might have been barely a harmony.)
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. This is a question I've been puzzling over now for a few months, both professionally and personally. Museums and other venues are offering special programs for teens, for hipsters, for people who want a more active or spiritual or participatory experience.
A museum can be friendly, or serious, or funny, while maintaining a traditional relationship with visitors as consumers of experiences. Community galleries look old-fashioned because citizen curators aspire to emulate the most traditional vision of a museum possible. But it's far more typical to focus on just one.
Thanks to Bryan Kennedy from the Science Museum of Minnesota for providing this overview/reflection on the Museums and the Web conference that recently concluded in Montreal. Museums and the Web 2008 guest blogger Bryan Kennedy here. The Walker Art Center is turning its teen website over to the teens.
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
They become a source for journalists to quote, have conversations with professional colleagues, or directly engage with stakeholders. One of the best personal brands that I’ve seen on Instagram from a nonprofit leader is Thomas P Campbell the CEO of the Metropolitan Museum. Relevant: It meets the target audiences needs.
I've long believed that museums have a special opportunity to support the community spirit of Web 2.0 This month brings three examples of museums hosting meetups for online communities: On 8.6.08, the Computer History Museum (Silicon Valley, CA) hosted a Yelp! Me: Have you ever been to this museum? meetup for Elite Yelp!
I spent the weekend queuing up posts for my forthcoming blog-cation--nine weeks of guest posts and reruns from the Museum 2.0 You''re in for a treat, with upcoming posts on creativity, collections management, elitism, science play, permanent participatory galleries, partnering with underserved teens, magic vests, and more.
This week marks five years since the book The Participatory Museum was first released. Across the museum field, the questions about visitor participation have gone from "what?" Over the past four years, I''ve been running a small regional art and history museum in Santa Cruz, CA. and "why?" to "how?".
Later, when were chatting with a small group of people in the lobby, we noticed a group of teens walking by looking a little sad. Then once they visit have such a great experience that they want to stay connected with the museum through social channels. @rauldemolina : These kids didn’t make @labanda ! Informative. Relevant.
What's the biggest mistake people make when involving non-professionals in exhibition design? This summer, I worked with the Chabot Space & Science Center on a design institute in which eleven teens from their Galaxy Explorers program designed media pieces for an upcoming Smithsonian exhibition on black holes.
Which of these descriptions exemplifies participatory museum practice? Museum invites community members to participate in the development and creation of an exhibit. Museum staff create an exhibit by a traditional internal design process, but the exhibit, once open, invites visitors to contribute their own stories and participation.
Unsurprisingly, some of my favorite museums are small, funky places run by iconoclasts—but that’s not useful to most professionals who work for organizations in which they have little control over size or leadership matters. I worked on one project in which the client institution thought they wanted unfettered teen expression.
I''m getting ready for the American Alliance of Museums conference later this month. How can you tell if you want to go to "Museums and Communities" or "Museums and Social Issues" or "Museums and Very Cute Lizards"? professional development' Don''t be afraid to leave a bad session for something else.
I just returned from the American Association of Museums (AAM) annual meeting in Philadelphia. I led two sessions, one on visitor co-created museum experiences, and the other on design inspirations from outside museums. what is the value of the exhibition experience to non-participants, that is, regular museum visitors?
For me, the experience changed my perspective on what teens want from social environments and encounters. It's easy to forget that teens are most comfortable being social with those they already know, not people who are unknown to them.
Every museum has a number for its operating cost per visitor. Most museums don't strategically set this number--too many operating costs are fixed by building needs--but they can use it to assess how expensive each visitor interaction is and evaluate the efficacy of programs. So where do online initiatives fit in?
Where else can you find Pakistani bathroom signage or Mexican biker teens while researching a project? Beyond the workplace uses, some museums are taking advantage of Flickr's 2.0ness to do neat projects--check out Jim Spadaccini's reflections on using Flickr for an exhibition website with the Maxwell Museum of Anthropology.
It has some of the same feel as the disconnected affection of people wishing you a happy birthday on Facebook, with professional reflection baked in. I''ve now been the executive director of the Santa Cruz Museum of Art & History for three years. We''re investing a lot in a public plaza project outside of the museum.
By a strange and lucky coincidence, I was at the Experience Music Project and Science Fiction Museum (EMPSFM) in Seattle for a two-day workshop. EMPSFM is one of a handful of museums worldwide for which the death of the King of Pop is a very big deal. Are museums only relevant when they can serve our most pressing needs?
Creative professionals using DALL·E today range from illustrators, AR designers, and authors to chefs, landscape architects, tattoo artists, and clothing designers, to directors, sound designers, dancers, and much more. “It’s a mood board, vibe generator, illustrator, art curator, and museum docent,” Baskin says.
Nina Simon a proud member of Gen Y, writes the very awesome Museum 2.0 blog, but you don't have to be a museum person to get a lot of value from it. Holy Meatballs is Global Kids project blog - I've pointed to the posts by teens. Nonprofit Programs and Social Actions. She also blogs at The Buzz Bin (her day job).
In fact, according to the Museum of London , shoplifters and suffragettes would have served sentences at Islington's notorious Holloway Prison around the same time in the early 1900s. That might be a modern read, but I'm intrigued. So, what did they do with all that loot?
There are lots of things visitors can’t do in museums. But what about the things that museumprofessionals can’t (or feel they can’t) do? This week at the ASTC conference, Kathy McLean, Tom Rockwell, Eric Siegel and I presented a session called “You Can’t Do That in Museums!” Why aren't we developing our audiences?"
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