This site uses cookies to improve your experience. To help us insure we adhere to various privacy regulations, please select your country/region of residence. If you do not select a country, we will assume you are from the United States. Select your Cookie Settings or view our Privacy Policy and Terms of Use.
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Used for the proper function of the website
Used for monitoring website traffic and interactions
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Strictly Necessary: Used for the proper function of the website
Performance/Analytics: Used for monitoring website traffic and interactions
The firms Isla Intersections project in South Los Angeles closed a nearby street (a rarity in car-focused L.A.) The projects ground floor retail, reserved for local businesses, is designed to further activate the area. Some of the projects will also add new community buildings, and all are aiming for net zero energy use.
Marnie Webb has been thinking about how the nonprofit sector might be different if organizations believed in abundance and re-thought their organizational structures and how they delivered programs as a result. If we thinking that way, what are the organizational structures that we have to build?
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.
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.
Nina has written a fantastic book engagement called The Participatory Museum. 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.
This Black History Month, we reflect on the strategy work that our team does through our partnership with the Smithsonian National Museum of African American History and Culture —much of which centers around expanding access. And for those who have, they quickly understand that the Museum has much more to offer than can be absorbed in a day.
The arts and culture focus areas in this list include performing arts, artists, art education programs, museums, visual arts, and beyond. These organizations are currently offering grant and funding opportunities and/or accepting letters of inquiry or project ideas. . Learn more at the link above. Areas served: Worldwide. The Andrew W.
Forum One partnered with the Museum on a full website redesign and upgrade, to welcome more diverse audiences and provide a space to discover our shared American history through a modern, inclusive, and forward-looking digital experience. Thank you, thank you, thank you!
There are lots of museums (and organizations of all kinds) looking for ways to inspire users and visitors to produce their own content and share it with the institution online. Today, a look at one of the projects I believe does this best--the World Beach Project. The World Beach Project does not exist in the V&A Museum.
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.
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.
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.
This creates a well-balanced funding structure that can withstand periods when contributions slow, whether it is due from an internal change, or an economic downturn. An effective funding model can be construed in many different configurations, but the best, most reliable structures include more than one mode of funding. Foundations.
Visitor-contributed photos surround a collection piece in Carnegie Museum of Art's Oh Snap! It can be incredibly difficult to design a participatory project that involves online and onsite visitor engagement. is a project that lets real-world and virtual visitors share their work in our gallery. Your Take on Our Photographs.
All of the visual editing capabilities that come with more traditional platforms and all of the API-first and structured content benefits of headless platforms are converging. This appears to be the paradigm that’s going to win out and its what we’re calling universal CMS. What does the onset of universal CMS mean in practice?
Forum One’s recent design work with the Smithsonian National Museum of African American History and Culture (NMAAHC) Simmons Talks series was a dream come true: an opportunity to put passion behind a design that I believe in and honor the work of others who inspire me. Endowed by Dr. Ruth J.
While many American museums require 37.5 The whole issue of wages gets at the heart of the faulty systems of capitalism, the culture of women’s work, and museums as privilege-concentrating institutions. They had the committee decision-making structures from universities and the collections-authority systems of libraries.
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. The reward for participants of having your contribution displayed is fairly and clearly structured.
Explore the March of Dimes case study Smithsonian NMAAHC’s Freedmen’s Bureau Search Portal The Smithsonian’s National Museum of African American History and Culture’s Freedmen’s Bureau Search Portal now makes more than 400,000 pages of volunteer-transcribed records and previously-unavailable data sets accessible for anyone to search.
George Scheer is the director and co-founder of Elsewhere Collective, a fascinating "living museum" in a former thrift store in Greensboro, NC. In this post, George grapples with the challenges of balancing the care for a museum collection with that of contemporary artists-in-residence who are constantly reinterpreting it.
At Forum One, we’re talking a lot about composable architecture, and leading with it in many digital projects with current and new partners. And just like Lego bricks, where the same components can create many different structures, the same digital components can fit together for various end products.
This is the final segment in a four-part series about writing The Participatory Museum. This posts explains why and how I self-published The Participatory Museum. 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. Why Self-Publish?
I once asked Elaine Gurian how museums can change. Here's the problem with both of these ways: they require circumstances that are outside of most museum employees' control. Where's the opportunity for risk in museums that are too big to avoid the media microscope? How do skunkworks projects get started?
Crowdsourcing is defined broadly as: The process of organizing many people to participate in a joint project, often in small ways. The measures of impact for this project include diversity, deeper and more relevant reporting, and better connection with listeners. A Crowd-Curated Exhibition.”
The arts and culture focus areas in this list include performing arts, artists, art education programs, museums, visual arts, and beyond. These organizations are currently offering grant and funding opportunities and/or accepting letters of inquiry or project ideas. . Learn more at the link above. Areas served: Worldwide. The Andrew W.
Last week, at the annual meeting of the American Association of Museums in Houston, I was honored to chair a fabulous panel on empowering museum staff to take creative risks ( slides here ). Beck beautifully described her entry into museum work. What kind of support do you need to be confident about taking a risk in your work?
Last week, I attended Structure Lab , a half-day workshop on legal and financial structures for ventures for social good. The Structure Lab is set up as a "game" in which you explore cards in various categories (values, assets, financing, etc.) to better articulate what you are really trying to do with your project concept.
At the Santa Cruz Museum of Art & History (MAH), we've started experimenting with a "community first" approach to program development. We don't want to wear them out on standing meetings or ongoing projects that may not draw on their talents. Moving from community needs out to possible projects/collaborators.
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.
Audience segmentation and research has become a hot topic in museums, especially when it comes to crafting appealing offerings that are customized to different kinds of visitors. I sat down with Kristen Denner, Director of Membership and Annual Fund, to learn more about the program's development and the museum's goals for its future.
It's rare that a participatory museumproject 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.
I like to ask myself this question periodically, challenging myself to find substantive ways for visitors to contribute to our museum. We actively seek participation and develop structured opportunities for visitors to collaborate with us. Last month, a couple came in and asked if they could stage a pop up tea ceremony at the museum.
This is the third in a four-part series about writing The Participatory Museum. This post covers my personal process of encouraging--and harnessing--participation in the creation of The Participatory Museum. I couldn't drop the project for months or abandon it entirely. Check out the other parts here. But that didn't matter.
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. they don’t jump in with their own designs on the project, or to organize the project).
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.
I tell the story of the one-man band because I think many museum professionals feel like him. But, most importantly, few museum professionals have a free hand or moment. We might think of structural racism or the classism inherent in our funding structures. Museums rarely have the funding to replicate positions.
Passing the design ball” on projects similarly builds skills amongst team members. Here are some ways to practice that effort: Active Listening Sessions I encourage structured listening sessions where team members take turns sharing their thoughts and concerns, while others actively listen without interruption.
Dear Museum 2.0 As some of you know, I'm working on a project to open an experimental cafe in Santa Cruz that serves craft beer, Belgian frites, and intriguing encounters with strangers. They may ask models directly to pose for the in more structured encounters. readers, I need your help. Got a great idea? Share it here.
I'm working on a keynote address for next week's Mid-Atlantic Association of Museums conference in Baltimore. The speech is in memory of Stephen Weil, one of the giants of contemporary American museum thinking--a radical in a bowtie who strove to "make museums matter." What would you add to this list?
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). Beck was inspired to launch this project by the popularity of sheet music and songbooks in the early 1900s.
When we talk about making museums or performing arts organizations more participatory and dynamic, those changes are often seen as threatening to the traditional arts experience. Museums no longer showed human horns alongside historic documents; theaters made differentiations among types of live entertainment. I can't wait.
The bigger question is about how to structure the second phase. For example, the Tech Museum Awards of five $50,000 prizes each year attracts many organizations with real capacity who are seeking both prestige and funding that could be significant in getting the new projects off the ground. Are they intended to inspire students?
My interest in gaming in museums was ignited by working on Operation Spy, an immersive, narrative, live-action game experience at the International Spy Museum, and fueled by the CSI:NY virtual experience. The Open Source Museumproject at The Tech is a grant-funded grand experiment. Will this project thrive or fall flat?
The various definitions of participatory projects can lead to confusion and misunderstandings. They provide detailed case studies of projects in each area, including project descriptions, informal science education goals, participant training techniques, and evaluation outcomes. What does the word "participatory" mean to you?
We organize all of the trending information in your field so you don't have to. Join 12,000+ users and stay up to date on the latest articles your peers are reading.
You know about us, now we want to get to know you!
Let's personalize your content
Let's get even more personalized
We recognize your account from another site in our network, please click 'Send Email' below to continue with verifying your account and setting a password.
Let's personalize your content