I’ve been on the hunt for museum book clubs. I’m particularly interested in programs that have some form of social media or online component to supplement and extend whatever is happening on-site at the museum. Read More
Each jam-packed issue of Exhibitionistcontains articles on exhibition development, theory and practice, book reviews, exhibition critiques, and nuts and bolts advice. The Fall 2013 issue will be of particular interest to you, dear readers, because it focuses on new media—how emerging technologies are making museums more mobile, personal, global, customized, compact, and widespread all at once. I contributed two pieces to the issue and I’m thrilled to share the otherwise-only-available-in-print articles with you here.
(Full disclosure: I serve on the Editorial Advisory Board for the Exhibitionist journal, a volunteer position for which I receive no compensation.)
The first is part of regular feature of the journal called Exhibition Studies which focuses on important questions in museum studies. My piece, “Learning and Sharing Expertise with Social Media,” suggests ways that faculty, students, and museum professionals alike can use social media to open up access to expertise, participate in dialogue, and enhance learning throughout the field.
The second is a “Glossary of New Media Terms,” which I co-authored with Ellen Snyder-Grenier. An evolving vocabulary is developing along with new technology and we developed this list—which includes everything from APIs to Virtual Reality—with readers new to the language of the digital world in mind. It is most useful as a companion to the full issue, which highlights the myriad uses of digital technology in today’s museum exhibitions.
The new media issue also features thought-provoking reviews of Gallery One at the Cleveland Museum of Art, a case study on the Newseum’s display of unfiltered user-generated content, cutting-edge examples of virtual reality in archaeology exhibitions, and a useful social media review (in place of the journal’s regular book review) by the fabulous Kate Haley Goldman. If any of these topics pique your interest, I encourage you to consider subscribing today. Upcoming issues will focus on: Exhibitions as Intentionally Designed Spaces; and Teaching/Learning about Exhibit Design and Development (including 3D and digital).
Note: These articles first appeared in Exhibitionist (Fall 2013) Vol.32.2 and are reproduced with permission.
A few weeks ago I checked something off my bucket list: get up in front of a theatre full of your brilliant colleagues and attempt to be more entertaining than the beer in their hands and the long lost pals they just reconnected with at the bar while simultaneously prodding a few serious thoughts out of their brains all the while remembering what you’re supposed to say in the brief-as-a-Beatles-song 5 minutes you have to race your words alongside slides that automatically advance every 15 seconds. In other words, I gave an Ignite talk.
I don’t know what it is about giving an Ignite talk but it is anxiety-inducing, mortifying, and thrilling all at once. And it was the kickoff to the 2013 Museum Computer Network conference so we were expected to knock it out of the park.
I spent a lot of time trying to memorize my bits—which included practicing on the plane ride with a copy of my slide notes and an iPhone recording. My visuals were all based on popular memes and, unfortunately, I forgot to print the notes WITH the visuals so I was forced to draw them while in transit. This is the sad result. (Can you guess which one is Grumpy Cat? Pepper-spraying cop? Y U No guy?)
In the end my efforts were all a bit of a waste in comparison to the magical wonder that is Don Undeen’s one-act play featuring a mask-wielding hacker, a pipe-smoking curator, and the undeniably reasonable (and lovable!) Digital Humanities Unicorn. Watch that performance, and several other incredible Ignite talks, right after mine (which starts at 15:03).
You know best the unique stories your collections have to tell and work hard to preserve those collections for future generations. But how do you take collections care activities from “behind the scenes” to front and center, engaging and educating the public? This was the central question addressed by a four-part series of webinars for small museums and libraries on the topic of collections care outreach. The series was hosted by Heritage Preservation‘s Connecting to Collections Online Community.
My session focused on the strategic use of social media for outreach related to collections. I talked about how to set goals, select the right platforms for your audience, create compelling content, and evaluate success. I showed examples of how organizations can leverage tools such as Facebook, Twitter, Instagram, Vine, Tumblr, and Google Hangouts to connect with today’s audiences and engage them in meaningful conversations about collections.
I also suggested the following key questions to consider when developing a social media strategy:
Why are you using social media? What do you hope to achieve?
Who are your target audiences? (Tip: “Everyone” is not a useful audience segment.)
What content can you use to connect with and engage audiences? What existing assets can be repurposed? What new content needs to be created?
What do you want to sound like? (Tip: Try creating a list of contrasting values that illustrate the tonal qualities you want to use as guidelines. For example, “friendly, not cutesy” or “clever, not snarky.”)
What does success mean for you? How might you find evidence of success?
The presentation deck is chock full of great examples from museums and libraries—from the Brooklyn Historical Society to the Shakespeare Library. Take a peek at the slides below or watch the webinar recording on the Connecting to Collections website for the full experience.
Have you seen other great examples of social media being deployed by cultural institutions to connect with audiences about the care and appreciation of collections? Please share in the comments.
After a review of different kinds of questions and their role in inquiry-based learning, we were encouraged to try the technique for ourselves. Here are the instructions we received (I encourage you to try it out, even if you aren’t taking the course!).
Browse through MoMA’s online Collection and choose an image. Research some information about the work of art using MoMA.org and/or other online sources. Respond to these questions:
* What drew you to this work of art?
* What information were you able to find out about this work?
* If you were to teach with this work, what aspects would you like to introduce to your students?
My selection: The Bricks by Reena Spaulings (2006)
Reena Spaulings, The Bricks, 2006
Synthetic polymer paint on canvas
Museum of Modern Art
What drew you to this work of art?
The work first caught my eye because it reminded me of the Little Golden Book, The Monster at the End of This Book, in which Grover (of Sesame Street) puts up all kinds of barriers (including a brick wall) in an attempt to warn the reader about a ferocious creature she will encounter if she continues to turn the page.
**Spoiler Alert** If hate to spoil the plot for those of you who haven’t read it but the monster at the end of the book turns out to be Grover himself. He is very embarrassed to have caused such a fuss. /**Spoiler Alert**
This canvas (and the book) depicts items that we think of as heavy and made to withstand the elements. Brick walls are impenetrable, stubborn, heavy obstacles; conversing with someone who is “like speaking to a brick wall” is a frustrating, cold experience. We say that difficult, emotional things hit us “like a ton of bricks.” In the 21st century, we discuss the binaries of “bricks and mortar” versus the virtual; sometimes the institution is seen as solid and timeless, other times the phrase is used to refer to an outmoded way of being in an increasingly digital world.
Both the book and this work of art are also playful with this heavy subject matter. It is easy enough to turn a page in a book, despite a depiction of onerous bricks. Similarly, the draping of the canvas makes the bricks appear lightweight, flimsy, and most certainly faux.
In addition to the visual appeal and sense of familiarity of the work itself, I was also drawn to the female name of the artist (I have a background in feminist theory). A quick glance at the MoMA description for the object intrigued me even more… “Reena Spaulings is a fictional artist and art dealer and literary persona. Under her name, several artists conceived and executed this painting, which features a crudely rendered brick–and–mortar pattern.” I was hooked and wanted to learn more!
What information were you able to find out about this work?
The work is housed in the Paintings and Sculpture department but is classified by MoMA as a painting, though it does not strike the viewer as as a typical painting. The brick pattern is painted on both sides of on an unstretched canvas and the work is displayed three dimensionally. It is versatile and “can be displayed in a number of ways: folded, open, lying on the floor, draped over objects, hung as backdrop, or in a combination of these options, as seen here.” The canvas itself is forty by eight feet, a massive size which doesn’t translate well through the small thumbnail images found on the Web.
I was not surprised to learn that the brick pattern was inspired by the Lower East Side of New York, as brick always reminds me first and foremost of a East Coast urban areas. Manhattan is the location of the Reena Spaulings gallery.
A 2005 New York Times review refers to the work as part of a “suite of handmade flags, each the same size, each of different design, none exactly commanding a salute.” This is the only reference I found that referred to the work as a flag, a concept which adds an interesting dimension to the work and how it is displayed. I would love to find a photo of the series together to get a better sense of its original display context.
The headline of a New York Magazine review, “Who Are These People?” sums up the bewildered response I have to the idea of a fictional artist who is actually made up of a rotating array of artists, including Emily Sundblad (founder and director of the eponymous gallery). The NYMag piece explores this strange identity a bit but also calls the group to task for using the fake identity construct to avoid accountability and also get good press by, well, writing about it themselves (co-director John Kelsey writes for Artforum). The author goes so far as to call them “art pranksters.”
In a less-than-glowing 2006 review for Untitled magazine, critic Cameron Irving describes the work: “The self-consciously painted brickwork only achieves a bare semblance of recognition, as if to ape the aesthetics of a ‘community project’ and sneer at the orthodox political correctness of collaboration.” He describes the experience of the show of “ironic painting” as “irksome” and cites his concern about “the ease at which work of questionable quality can slip through panoptic structures engineered by collaborative art groups.”
Art student Philippa Ho has a less negative take on the work, as evidenced in the evocative interpretive notes she lists on her blog:
If you were to teach with this work, what aspects would you like to introduce to your students?
In my case, I am taking this course to think more about how I might use objects to generate conversation between a museum and its audiences via social media. So my “students” in this case are informal learners or simply fans of museums interested in viewing and discussing art casually. The inquiry-based method of learning seems to very much rely on a series of questions that hang well together. I am skeptical that any of the questions I pose below would work well on its own, as can easily happen when a social media post is taken out of context.
At any rate, I think there is a lot of richness to cover about the formal elements of the work, the symbolism and physicality of brick walls, and the history behind the makers of the works.
I might ask:
* What is interesting to you about the material used to make this work?
* How would you describe the role or function of brick walls in everyday life?
* How is this depiction of a brick wall the same or different from brick walls in everyday life?
* How does it feel to see a brick wall that is limp and hanging?
* Is this how you would choose to display the work?
* Are there any clues about who made the work of art?
* Why might the people who made this work have chosen to work together and under a false name?
What questions does this work raise for you? How might you lead a guided inquiry of this work, either in a gallery or online?
[Note: If you are participating in the course, you can find this same post in the Coursera forum. Would love for you to respond there.]
As a museum professional who specializes in digital engagement and a museum studies professor, I come to this course with several layers of questions related to inquiry-based learning and how it intersects with online platforms:
What are the best practices for inquiry-based learning in art museums?
After nearly a decade in a national history museum, I am fairly new to art museums and how they engage learners with works of art, as opposed to other kinds of museum objects.
What aspects of inquiry-based education translate well to digital spaces?
Should I change my approach as an educator for formal online education experiences (e.g., online university courses) vs. informal learning experiences (e.g., social media)? My professional speciality is digital outreach and engagement for museums and other nonprofits, with an emphasis on both learning and marketing outcomes. I am also an adjunct professor for the Johns Hopkins University museum studies program, which involves teaching entirely online. I’m curious to explore further how the context of the learner impacts the effectiveness of inquiry-based education . . . for example, does a Twitter follower get as much out of inquiry as a formal student?
What are the challenges that educators face in using inquiry-based methods online to engage learners that are not in the same room and are not participating at the same time?
In teaching online graduate courses, I have found the asynchronous nature makes the process of constructing knowledge together as a group more difficult than I experienced when teaching graduate students in a physical classroom.
How does observing an object digitally change the experience of observation for the learner?
How does being online affect some of the other aspects of inquiry-based learning, such as communicating with a group about one’s ideas and interpretation? As someone who designs digital museum experiences, I am especially interested in outreach projects for audiences who cannot come and see museum collections in person. How does this change the way I structure an inquiry-based experience?
How does a MOOC really work?
I’ve been reading about them for months but this is my first personal experience as a student in a MOOC.
Should museums be using MOOCs as an educational platform?
And for what audiences (e.g., adults, teens, teacher professional development, homeschool audiences)? Part of my role at a national art museum is to figure out how to leverage our expertise and resources for maximum impact. I am curious about how museum educators can bring something unique to the MOOC space and am excited to learn from the model MoMA is presenting here.
I look forward to noodling over some of my other burning questions with other Coursera students as we learn by doing, digitally.
Note: You can follow some of the discussion about the MOOC on Twitter using the hashtag #artinquiry.
What are your thoughts on how inquiry-based learning translates to online learning? Does it matter if the learners think of themselves as such (e.g., part of a formal class environment) or not (e.g., simply following an educational institution on social media)?
The group has found Facebook to be their best platform for promoting events to tother teens. The teen who spoke with my small group said that teens prefer the term “youth” to “teen.” When asked what he would like to do when visiting an out-of-town museum, he said that he loves to take photos and share them via social media.
Stories to Go: Mobile Platforms for Storytelling and Community Voice
The Walker’s mobile-optimized website for the Minneapolis Sculpture Garden features a community-based audio tour.
Opening Up Museum Studies with Social Media (COMPT Luncheon)
How can museum studies professors–and educators of all stripes–incorporate social media into their teaching to improve learning and open access to our expertise? This brief presentation (by me) covered the social dimension of learning, how social media has changed museums and its audiences, and examples of social media tools being incorporated into the curriculum.
(COMPT = Committee on Museum Professional Training)
What role can a horizontal mentor play in your professional development? Have you ever even heard of a horizontal mentor?
Horizontal Mentors are those professional peers to whom one can turn for deeper and more frank discussions, whose advice and judgment about professional and career questions one seeks and values, and whom one can call on for support. The recent rise of “horizontal” mentoring provides the opportunity to build multiple relationships within a professional network and gain insights and advice from colleagues and peers in various capacities.
Members of the Getty Leadership Institute’s NextGen Class of 2011 led a roundtable discussion during the American Alliance of Museums 2013 Annual Meeting on this topic.