experimental museumprojects aam2012
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Maria Mortati, Introduction & Context
Sarah Schultz, The Walker’s Open Field
Stephanie Parrish, Shine a Light at PAM
Susan Diachisin, The Center for Creative Connections at the DMA
FACEBOOK/EXPERIMENTAL MUSEUM PROJECTS COMMUNITY 1
Experimental Projects: Creating a Community of Practice
A panel for the American Associations of Museums conference, May 2012
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Experimental Projects: Creating a Community of Practice
Maria Morta< Independent Exhibit Developer, Founder, SF Mobile Museum
Co-Presenters: Susan Diachisin, Stephanie Parrish, Sarah Schultz
AAM 2012 Tuesday, May 1, 9 am
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WHERE I’M COMING FROM & how “experimentalism” informs my prac<ce
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Center for Crea<ve Connec<ons, Dallas Museum of Art
New Interac<ve Educa<on Spaces, Bal<more Museum of Art
Fort Collins Museum of Discovery Children’s Crea<vity Museum
FORMAL
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The Giant Hand Machine Project @ The Hammer Museum
The San Francisco Mobile Museum
Desire Trails Public Program, Headlands Center for the Arts
Cri\er Salon by Phil Ross
INFORMAL
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Why We Are Gathered Here Today
Explore and share how to support, realize and engage with a variety of experimental projects
Explore a history of “socially engaged art” or experimental work
Consider needs for vocabulary, offer an Elas<c Manifesto, Manual, & Bibliography
Discuss, share and hopefully connect
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An Overview of [some] Experimental Projects
Museum hosted artist projects:
Shine a Light @ Portland Machine Project @ Hammer Critter Salon @ Hammer
Art entities doing their own thing:
Machine Project Southern Exposure
Permanent Museum Spaces that act as platforms:
C3 @ Dallas Open Field @ Walker
Hybrid projects – neither art nor non-art:
San Francisco Mobile Museum Mobile Art Project Denver Community Museum 7
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New endeavors have a need for a shared language
• For now, we’re just going to talk to the terminology but not get into it – Social art or socially engaged art – Par<cipatory vs. social engagement – Art vs. interac<ve – Plaform
…so we’ll all need to crah it 8
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Except for this one: Plaforms
• Plaforms are systems that support mul<disciplinary and inter-‐departmental projects
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We are here because we are moving from an old world order to a new world order
Old World: sealed New World: porous
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Old World: fixed New World: organic
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Why Are Museums Ripe?
• “While there is no complete agreement as to what cons<tutes a meaningful interac<on or social engagement, what characterizes socially engaged art is its dependence on social intercourse as a factor of its existence.” – Pablo Helgura
…because we are fundamentally social en<<es
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Museum experience Museum experience
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“One of the things that is great about working at Machine is we prototype all these ideas… it’s a challenge for museums because their very core purpose is to collect, preserve, and educate visitors about things that are precious and live forever.
Something that was interes<ng about being at the Hammer for a year was it allowed things to cycle in and out. And it took some of the pressure off each individual thing. If you can’t acknowledge that what you’re trying to do might fail and sGll value what you learn from the aHempt, then you have to succeed. “ -‐ Mark Allen, Machine Project, Hammer Report
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We Made The Most Confusing Way-‐Finding Device… Ever?
-‐ Or -‐
Talking to the Hand
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The hand is both art and way-‐finding
• It was fun, it got people where they needed to go
• Mul<ple purposes and contexts in a museum is very confusing…. TO STAFF & SYSTEMS
• It was not a design solu<on
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Cri\er Salon at the Hammer (and other sites) by Phil Ross, Arist
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http://vimeo.com/22781774
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Who Curates the Experience?
• They build different types of discussions, capabili<es, push on a variety of departments
• It built rela<onships with different Affinity Groups in the region. It brought different audiences to the Museum.
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Why Do We Need A Community?
• This is new work which means that: – It’s not tried and true = inven<ng – You’ll need to create that shared language for developing the work
• We’re building a prac<ce which is different from presen<ng people/artwork – It needs a web of rela<onships to succeed
• It’s different work when it’s at a different museum
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A FLEXIBLE MANIFESTO Ar<sts may or may not read it
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http://mortati.com/blog/?p=319
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AN INITIAL MANUAL Join us on FACEBOOK to add or edit
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http://mortati.com/blog/?p=319
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BIBLIOGRAPHY Short, shareable and ready for you
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http://mortati.com/blog/?p=319
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Experimental Projects: Creating a Community of Practice
Sarah Schultz Curator of Public Prac<ce & Director of Educa<on
Walker Art Center
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AAM 2012 Tuesday, May 1, 9 am
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Open Field Walker Art Center Minneapolis, Minnesota
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Open Field is a three-year experiment that invites the public and artists to create a cultural commons on the Walker’s green space
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inspired by the belief that creative communities are collective endeavors that thrive in a landscape of diverse ideas and practices.
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What would you do with an open field?
We began with a four-acre lawn and the question:
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This was an extension of earlier social experiments and research.
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The 4C Model: A socially conscious approach to cultural programming.
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The spectrum of civic engagement activities.
Commentary >> Dialogue >> Action >> Leadership
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Commons Theory
Participatory Culture
Artistic Practice
Open Field in Theory
This was part of a larger conversation about evolving
institutional practice. 33
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Public
Artists Institution
Open Field in Practice
Open Field considers the different ways to share resources and create something together.
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Project Goals • Resist the notion that the museum is the primary author
of content and experience.
• Create a platform for many types of creative activity generated by both artists and non-artists.
• Position creativity as a collective and civic endeavor.
• Imagine a new kind of public gathering space for the city.
• Blend social, intellectual, and creative experiences and encounters.
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Phase IV: Participation
(5000 +)
Phase III: Implementation
(150)
Phase II: Development
(50)
Phase I: Ideation & Incubation
(5)
The Open Field Project evolved in stages, from a team of 5 to a community of 5,000.
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In January 2010 we convened a group of 30 architects, artists, and designers to collaboratively propose ideas for the field. 37
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They identified steps to construct a social space 38
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and plotted potential interactions between artists and the public. 39
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They suggested tools and amenities to make the field more inviting. 40
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In spring 2010, a physical space was created adjacent to the museum 41
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featuring food, shade, seating, and a large open field. 42
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A Tool Shed and Drawing Club provide ongoing platforms for public engagement. 43
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The public is invited to share their own creative activities with minimal mediation and modest support from the Walker. 44
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An online hub provides a public calendar, documentation, and guidelines for the field. 45
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The guidelines, or Field Etiquette, are outlined on the website.
walkerart.org/openfield/introducing-open-field/field-etiquette/
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In hindsight, the Open Field strategies of engagement looked like:
• Tools for empowering participation
• Rules for guiding participation
• Seeding or modeling participation
• Meeting to nurture the casual and social encounters
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Over the course of two years the public brought more than 200 activities to the field. 48
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Swedish Song Session in the Turrell Suzuki Violins 49
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The Public Intellectual 50
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Gorilla Yogis 51
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Plein Air Painting With a view of the Minneapolis Sculpture Garden
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In addition, the museum invited national artists to create projects with the public. 53
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Red76: Anywhere/Anyplace Academy 54
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Red76: Pop-Up Book Academy 55
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Futurefarmers: A People Without a Voice Cannot Be Heard Commissioned by the Walker Art Center and Northern Lights.mn 56
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Futurefarmers: Auctions Speak Louder Than Words 57
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Machine Project: Summer Jubilee / Concert for the American Lawn 58
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Machine Project: Summer Jubilee / Opera for Dogs 59
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Machine Project: Summer Jubilee / Building an outdoor oven 60
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Walker Kitchen Lab: A Mobile Hearth for Collectivist Action
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ROLU in Residence Making as thinking. Participation as performance.
Photo: Zoe Prinds-Flash 62
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In the voices of Open Field participants . . .
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DiverCity and Mudboots Marching Band
“Open Field is a place where you can bring your best, creative self forward.”
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“Open Field reminded me of how removed I’ve become from play. Humor can get us through the workday, but for play, we need other people and the willingness to suspend all self-consciousness with them.”
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“For me a small group talking about a topic unrelated to artistic practice is indeed the opening of a field. There are no bounds to the conversation and people can feel free to share and understand one another.”
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Photo: Zoe Prinds-Flash
“I don’t know how to measure the success of my project. I now realize it’s not about success or failure but rather the opportunity to design new experiences. This is a shift in how I think about my work and I have Open Field in part to thank for that revelation.” 67
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Have fun. 69
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Experimental Projects: Creating a Community of Practice
Stephanie Parrish Associate Director of Educa<on & Public Programs,
Portland Art Museum
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AAM 2012 Tuesday, May 1, 9 am
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h\p://www.youtube.com/watch?v=h4BfB8sNRXk
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Shine A Light 2009-‐11
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Portland Art Museum: Shine A Light: Programming Goals (as written for 2010 & 2011)
Programming • Situate art (producing, interpreting, enjoying, puzzling over) as a living activity
that everyone has the potential to participate in • Encourage an atmosphere of participation between the museum, its visitors, and
artists. • Activate gallery spaces that suggest the museum is also a “site” of art production
and practice. • Situate the entire museum as place of multi-layered interpretations,
conversations, and unplanned directions, multiple interpretations in the galleries • Inspire inquiry into the connections between art and everyday life. • Have fun!
Audience • To make the museum feel relevant to young arts-interested audiences,
especially people between 18-45 years old.
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Hannah Jickling Portland Orienteering Museum, 2010
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Ariana Jacob with Mirah Serenedes: Musical Conversa@ons Between Humans and Artworks
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Harrell Fletcher Museum Visitor Cellphone Photographs, 2009
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Ariana Jacob Art/Life Partners, 2010
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Jason Sturgill Art is Forever, 2011
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Ariana Jacob Art as Experience, Guaranteed, 2011 95
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Lexa Walsh-‐Ar<st-‐in-‐Residence
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Publishing/Sharing the Work
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Strategic Directions:
A. Serving as a Center for Visual Art, Film, Culture
B. Innovating to Create Compelling Audience Experiences
Serve a lab for creativity by articulating and extending promising practices from recent experiments.
C. Engaging Diverse Communities
Build involvement of diverse communities through joint education and curatorial initiatives that are rooted in outreach and listening.
Strategic Plan Approved by Board of Trustees, December 2010
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Susan Diachisin The Kelli and Allen Questrom Director of the Center for Crea<ve Connec<ons Dallas Museum of Art sdiachisin@dallasmuseumofart.org 214-‐922-‐1317
5/1/12 Center for Crea<ve Connec<ons 101
AAM 2012 Tuesday, May 1, 9 am
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102
The Center for CreaGve ConnecGons is an experimental learning environment that provides interacGve encounters with works of art and arGsts. It is designed to s<mulate curiosity, inquiry, and reflec<on in visitors of all ages and learning styles. The Center will serve as a bridge between our everyday experiences of looking and the transforma<onal experiences of seeing, crea<ng, and connec<ng deeply with works of art.
C3 Mission Statement
5/1/12 Center for Crea<ve Connec<ons
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103
Gallery
Spaces
Community
Partnerships
MulG-‐generaGonal
Programs
12,000 sq. feet 11,000 visitors per month
Changes every 6 months 300+
arGsts per year
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ExhibiGon space with works of art from the collec<on
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ExhibiGon space with works of art from the collec<on Par<cipatory components with the works of art
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Exhibits designed with mul<-‐genera<onal visitors in mind
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A Making Bar promotes crea<ve ac<vity
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Theater for film, performance, lecture and installa<on
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Art Studio for workshops, classes, open studio
Tech Lab where art and technology meet
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Arturo’s Nest for children 4 and under Young Learners zone for children 5-‐8 years old
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OUR VALUES, AND HOW THEY RELATE TO EXPERIMENTAL PROJECTS
See Bibliography for more details
5/1/12 Center for Crea<ve Connec<ons 111
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Our Founding Values
Visitor Centric Experimenta<on
Collabora<on Crea<ve Process Community
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5/1/12 Center for Crea<ve Connec<ons 113
What a “Community Partner Response Installa<on” Can Look Like
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Team Structure in Rela<on to Community Partners
C3 staff
Exhibi<ons Director,
Coordinator Exhibi<ons Graphics
Designer
Registrar
Director Preparators
Community Partner
PR
Educa<on
Director & Partnership
Staff
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C3 gave Community Partners a high-‐profile area and crea<ve freedom
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TRIAL RUN: GROUP AS COMMUNITY PARTNER
University of Texas at Arlington
School of Architecture & Interior Design
5/1/12 Center for Crea<ve Connec<ons 116
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University of Texas at Arlington School of Architecture and Interior Design
5/1/12 Center for Crea<ve Connec<ons 117
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• Visitors loved it • Visitors didn’t dis<nguish always between the collec<on art and
student work
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Installa<on
UTA as Community Partner: results & impacts
5/1/12 Center for Crea<ve Connec<ons 119
2008 2009 2010 2011 2012
Tech Lab Program
2009 Install 2008
Tech Lab Partner 2012
Evaluation Subject Spring 2011
Young Learners
Install Fall 2011
Grant letter of support
Fall 2010
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ACHIEVING PARTICIPATORY DIVERSITY THROUGH COMMUNITY PARTNERSHIP
With Ar<st Lesli Robertson
5/1/12 Center for Crea<ve Connec<ons 120
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Reaching all cons<tuencies in our community
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Ar<st Lesli Robertson included the work of 580 par<cipants
5/1/12 Center for Crea<ve Connec<ons 122
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The installa<on also included visitor par<cipa<on components on site
5/1/12 Center for Crea<ve Connec<ons 123
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Installa<on
Ar<st as Community Partner: results & impacts
5/1/12 Center for Crea<ve Connec<ons 124
2008 2009 2010 2011 2012
Weaving Demo 2009
Gallery Talk 2008
Staff Recomme
ndation 2012
Bonnie’s Book 2010
Letters of support 2010, 2011, 2012
Workshop 2010
Evaluation Subject Spring 2011
Bark cloth exhibition advisor 2011
16 Workshops
2009
Workshop 2011
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BUILDING RELATIONSHIPS THROUGH GROUP AS COMMUNITY PARTNER
Southern Methodist University
5/1/12 Center for Crea<ve Connec<ons 125
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SMU Project Loca<on
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Interes<ng Invite, Complex Dynamics:
• 5 Working Ar<st Faculty members • 2 Alumni Ar<sts • + Very complex installa<on
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Difficulty balancing the ar<sts’ inten<ons with museum aesthe<c and objects (nearby)
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Plus Side: Programming livened the installa<on
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Installa<on
Impact of SMU as Community Partner
5/1/12 Center for Crea<ve Connec<ons 130
2008 2009 2010 2011 2012
Panel 2011
Improv in gallery
Robotics 2012
SMU Advisory
Team 2011
Gallery Talks 2011
7 Work- shops
2011,2012
Kids Teaching
Kids 2011
Young Learners
Install Fall 2011
Late Night Program
2011
Teen Program
s 2011,201
2
Tech Lab Advisory
2011, 2012
Rapid Artists 2011, 2012
Intern 2012
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5/1/12 Center for Crea<ve Connec<ons 131
These projects have a genera<ve impact on the community and museum
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5/1/12 Center for Crea<ve Connec<ons 132
Experimental Partner Installa<ons are crea<ve and they build community
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Q+A
• Why do this? How do you sustain this work? • Ar<sts are ar<sts. • Where does the crea<ve spark for theses projects come from?
• Does it always have to be ar<sts or at art museums? • Is this work messy? How can it be good AND messy? • Why do we need allies? • What didn’t work? Where are the train wrecks? • What’s the big deal about DOCUMENTATION? Why is it so important?
133
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Susan Diachisin Kelli and Allen Questrom Director of the Center for Creative Connections Dallas Museum of Art— dallasmuseumofart.org/C3 SDiachisin@dallasmuseumofart.org
Maria Mortati Independent exhibit developer & project planner Founder, San Francisco Mobile Museum maria@mortati.com
Sarah Schultz Director of Education and Curator of Public Practice Walker Art Center—walkerart.org sarah.schultz@walkerart.org
Stephanie Parrish Associate Director of Education and Public Programs Portland Art Museum—pam.org stephanie.parrish@pam.org
Manifesto, Manual Bibliography can be found at http://mortati.com/blog/?p=319
Please join us at: FACEBOOK/EXPERIMENTAL MUSEUM PROJECTS COMMUNITY 134
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