Monday, June 20, 2016

Inspiration: Your Rainbow Panorama


As summer begins here in the Northern Hemisphere, I offer you a bit of museum/exhibit/design inspiration that evokes light, and sun, and endless horizons: artist Olafur Eliasson's architectural installation entitled  "Your rainbow panorama."

Situated on top of the ARoS Aarhus Kunstmuseum art museum in Aarhus, Denmark, Your rainbow panorama invites you to experience the familiar (a city skyline) in unfamiliar ways. Olafur Eliasson's creation consists of a 150-meter-long and three meter-wide circular walkway in glass in all the colors of the spectrum. Your rainbow panorama is mounted on slender columns 3.5 meters above the roof of ARoS with a diameter of 52 meters.



Here's a quote from Eliasson about this work:

Your rainbow panorama establishes a dialogue with the existing architecture and reinforces what was already there, that is to say the view across the city. I have created a space that can almost be said to erase the boundary between inside and outside – a place where you become a little uncertain as to whether you have stepped into a work of art or into part of the museum. This uncertainty is important to me, as it encourages people to think and sense beyond the limits within which they are accustomed to function.” 



I hope the promise of summer and the inspiration of Your rainbow panorama opens up new possibilities in your own work and practice.




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Saturday, June 11, 2016

One From The Vaults: Smaller STILL Is Better


Though I wrote the original version of this post back in 2009, it still rings painfully true today.  We, as an industry,  still seem to be preferentially creating institutions that are lumbering behemoths instead of small and nimble innovators.  As I mention at the end of this encore post, I'd really like to know about smaller, better cultural institutions doing great work to shine a light on them.  So call out great examples in the comments or contact me directly.   Thanks, and enjoy this post from the ExhibiTricks vaults!


So here's my two-part solution to solve the ever continuing museum money/funding crisis:

1) Stop building gigantic new museums.

2) Fund small "risky" projects instead of "safe" big projects.


Most big museums were unsustainable before the current "financial crisis" and even more so now. Not to mention that many gigundo museums are filled with pockets of mediocrity or just plain lousiness that gets ignored or excused or even overlooked because there are other flashier, newer segments of the rest of their elephantine museum building complex.

So why do people keep building giant museums? Sheer ego and "edifice complex" as far as I can tell. It's a lot sexier to say you're building the "world's biggest and best museum" than to actually set up the infrastructure to ensure a continually growing and evolving institution that makes best use of both staff and community resources.

If you really want to see Museum 2.0/3.0/whatever happen, then museum workers and museum organizations should advocate for more, but smaller, museums spread throughout communities like public libraries --- heck why not have every museum (that's not already doing so) partner with a local library or community center to work on exhibits and programs together?

Now, funding.

Here's a modest proposal for NSF, IMLS, NEH and the rest of the governmental alphabet soup of funding agencies: alternate every year between funding "big" projects and "little" projects.

This would have the benefit of breaking the cycle of perpetually funding "The Usual Suspects" of the same batch of museums/designers/evaluators who get funded every grant cycle.
Which would be fine, if the "The Usual Suspects" were turning out wonderful field-changing exhibitions. But mostly the funding process has turned into a gravy train for folks doing the same sort of mediocre exhibitions over and over again.

Why couldn't NSF, for example, deliberately fund 15-20 large exhibition projects one cycle, then 50-60 small exhibition projects the next?

I think part of this big vs. small dichotomy is also an issue of exposure. There are many amazing, innovative museums and museum workers doing their thing in remote or smaller outposts, so they don't get recognized in the traditional incestuous museum conference/funding world.

So, I'm going to do my part to help change that exposure thing, and I need your help. Do you know of some cool projects happening at smaller "non-famous" museums, or do you know an up-and-coming whiz kid who hasn't been able to find a real full-time with benefits job in the museum business yet?


Send me an email at info@orselli.net so I can start giving these small places and some NOT the usual suspects some publicity and the attention they deserve.

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Wednesday, June 1, 2016

Walkalong Gliding with Phil Rossoni



Phil Rossoni is a commercial glider pilot who has always been interested in finding ways to share the experience of piloting an aircraft with a wide audience.  I thought his enthusiasm (and directions and videos!) for lightweight gliding aircraft that can be made with museum visitors would be a great thing to share with ExhibiTricks readers.

What's the next best thing to soaring through the skies like birds? Its called Walkalong Gliding where a simple paper airplane seems to hover in perpetual motion on the edge of a piece of cardboard. 

Walkalong Gliding works on the same principles of soaring flight used by all manner of flying creatures to effortlessly take to the skies. The best design for the indoor museum setting is the Tumblewing designed by John Collins aka "The Paper Airplane Guy". 

Everybody gets to build and fly their own glider made from a 1"X4" strip of light newsprint. What's the goal? Keep it flying for at least 30 seconds, longer than the current world record for a tossed paper airplane! It's called the "30 second airborne club". 

Like the first pioneers of flight had to learn, staying in the air for extended periods requires control of the paper airplane. What's the takeaway? Yes try this at home, come back and show everyone you've learned the right stuff! 

To find out more about making lightweight gliding aircraft for yourself or with your museum visitors, check out Phil's book,  Build and Pilot Your Own Walkalong Gliders and his list of Tumblewing Links.





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Tuesday, May 24, 2016

A Practical Guide to Museum Ethics: An Interview with Sally Yerkovich



Sally Yerkovich is an internationally known speaker, educator and museum leader. She is director of the Institute of Museum Ethics and adjunct professor in the Museum Professions Program at Seton Hall University. She also teaches in the Museum Anthropology Program at Columbia University and Bank Street Graduate School’s Leadership in Museum Education Program. A member of the Ethics Committee for the International Council of Museums (ICOM), she worked extensively with museums in Central and Eastern Europe as President of the Fund for Arts and Culture, an all-volunteer organization that helped promote the development of civil society by sharing best practices with cultural organizations in former Soviet-bloc countries.  

Sally is also on the AASLH Ethics and Professional Standards Committee and served as Chair of the American Alliance of Museums Task Force on the Direct Care of Collections. Her work, which draws upon her experience in museums and nonprofit cultural organizations, is increasingly engaged with how museums will face the ethical challenges of the future.

I'm very happy that Sally was able to share her thoughts with ExhibiTricks readers in the interview below:


How did you become interested in museum work?
My route to museums was circuitous.  When I was growing up in Portland, Oregon, I was really not a great fan of museums.  I found art museums intimidating.  They were grand in scale, not particularly welcoming in manner and they seemed to expect me to bring an understanding of the art with me. I was drawn more to science and history museums as well as to zoos.  They seemed more approachable and had a more direct relationship to my life and experiences.

After I graduated from college, I worked for a program that helped high school students without financial or social advantages gain the necessary skills and knowledge of the humanities so that they could be admitted to college.  I also spent a month in West Africa -- Southwestern Nigeria to be precise.  There I was immersed in Yoruba culture and society and came to a new understanding of cultural difference.  Each of these experiences had a profound impact on my thinking and led me to want to create opportunities for learning for people without the advantages of higher education.  I didn’t know how I would do that but I knew my next step should be getting a graduate degree in cultural anthropology.

After I finished my PhD in Folklore and Folklife/cultural anthropology at the University of Pennsylvania (my dissertation was an ethnolinguistic study of gossiping), I taught briefly at the University of Florida in Gainesville.  There I visited the natural history museum often and saw exhibitions that made cultural difference understandable.  These exhibitions did what I had always wanted to do – create bridges to understanding between and among cultural groups and provide entry points for those who want to learn but have not had educational advantages.  It was a short hop from there to working at the National Endowment for the Arts and then the National Endowment for the Humanities where I came to understand that museums could be venues for the kinds of learning experiences I was interested in creating.



How did you originally get involved with the Institute of Museum Ethics?
After working in museums for about twenty years, I heard about the Institute of Museum Ethics at Seton Hall University.  Its founding director had just moved to England and the Institute needed a director.  Ethics had always been a concern for me from the time of my graduate work, through my years at NEA and NEH where I helped create guidelines for working with Native American groups, to working in museums in New York and New Jersey.  

After I started working with the Institute, I realized that as museum professionals, we are confronted with ethical issues on a regular basis and we quickly internalize the values that guide our decisions and resolutions of dilemmas.  Nonetheless, we seldom talk about ethics except when a controversy or scandal arises.  I felt that the Institute could become a venue where conversations about ethics could happen absent a crisis situation and where we could come to understand better the ethical principles that underpin our work.

At about this same time, the controversy over the National Portrait Gallery exhibition Hide/Seek:  Difference and Desire in American Portraiture arose.  The Institute created a very successful day-long conversation about the controversy that demonstrated how constructive and instructive conversations could be build around contentious situations.

All of this, then, led me to develop courses on ethics in museums that I now teach at Seton Hall in the M.A. in Museum Professions Program, Columbia University in the Museum Anthropology M.A. Program, and Bank Street College of Education in the Museum Leadership Program.  I’m also developing an online introductory course on ethics for Museum Study.  All of these courses are great fun and often take advantage of the resources of the Institute.



Can you talk a little about your new book? 
A Practical Guide to Museum Ethics grew out of my interest in creating conversations about ethics.  It is a very practical guide to thinking about the ethical dilemmas that arise in all areas of museum work – from governance and management to collections care, cultural heritage and accessibility.  

Through a discussion of the relevant codes of ethics and then the posing of a number of hypothetical (and not so hypothetical) situations, it is designed to help museum professionals think through the dilemmas that they may face in their daily museum lives.  The hypotheticals can be used as conversation starters regarding some of the most prevalent ethical issues in museums.



What is the most interesting response you’ve had when you’ve talked about your book to people not involved with museums? 
“Museum ethics? What’s that?” or “Do museums have ethics?”   Even though people read about ethical issues in museums regularly in the newspapers – articles about deaccessioning, fund raising, possible board members’ conflicts of interest and the like – they don’t always think of these as ethical issues and don’t understand the reasons that these things can be problematic for museums.  For these people, I would hope my book would be an introduction to the principles that underlie work in museums.



What are some of your favorite online (or offline!) resources for people interested in finding out more about Museum Ethics?
Of course, I need to start with the Institute of Museum Ethics own website. We have a news feed on the website as well as resource lists pointing to documents and websites that provide codes of ethics for all the different aspects of work related to museums.  On Twitter -- @museumethics – we also keep up with news and with developments in the field that relate to ethics.  There is also a new website for my book.

For people working in or with museums in the U.S., the American Alliance of Museums Code of Ethics for Museums is a good starting point.  The AAM website also has important supplementary information concerning field-wide standards and best practices that can provide guidance. The American Association for State and Local History and the Association of Art Museum Directors have similar resource banks that are excellent.

The website for the International Council of Museums also has some very useful information related to museum ethics.  Their Code of Ethics sets standards adhered to by museums internationally and their website  is especially strong on information related to the international trafficking of items of cultural heritage. (See the ICOM International Observatory on Illicit Traffic in Cultural Goods for a wealth of information.)

There are a number of blogs that often focus upon ethical issues in museums.  CultureGrrl is the first that comes to mind.  Whether you agree with Lee Rosenbaum or not, you can bet that she will highlight the ethical issues of the day. 

I’m also a great fan of the Anonymous Swiss Collector blog as well as Cultural Assets, attorney Kevin P. Ray’s occasional legal analysis and commentary on art and cultural property.  Finally, speaking of things legal – my starting point in thinking about any legal or ethical question related to museums is always Marie Malaro and Ildiko Pogany DeAngelis’ A Legal Primer on Managing Museum Collections. It never ceases to provide lucid thinking on many issues that are critical to museum governance and management.



What advice would you have for museum professionals, especially those from smaller museums, in making sure their exhibitions and programs manifest in ethical ways?
The key word for creating exhibitions and programs is integrity.
If your work is based in sound, balanced research and you have consulted with and listened carefully to other experts, whether they are scholars or members of the community to which your exhibition relates, you can most likely be confident that you are presenting a story to the public that you can defend and take pride in.  

When you are dealing with a potentially controversial topic, listening to different perspectives and including those is often really important.  Also, the National Coalition Against Censorship has a publication, “Museum Best Practices for Managing Controversy” that can be very helpful.



What do you think will be the most important issues for museum ethics in the future?
Several years ago, the Institute of Museum Ethics and the Center for the Future of Museums (AAM) did a forecasting exercise to get a sense of what the most important ethical issues for museums might be in fifteen to twenty five years. The exercise highlighted six issues:

• Accessibility
• Conflict of Interest
• Control of content
• Collecting and deaccessioning
• Diversity
• Transparency and accountability in governance, operations, and finance


Even in just the five or so years since we did the study, these issues have become much more critical in the field.  The most difficult of them are, of course, related to money.  What should the role of a donor be in creating an exhibition?  Are there funders and/or potential board members whose reputations are such that it may not be wise for museums to work with them?  Is it ever appropriate for a museum to cede control of the content of an exhibition or program to a donor?  

There are no easy answers to any of these questions and it will be increasingly important for museums to share their perspectives and experiences with one another so that the field as a whole can develop reasoned approaches to them.

The bottom line, though, is and will always be maintaining the integrity of our institutions.  Without that, we lose our credibility and we fail to realize our promise as public educational institutions.



If money were no object, what would your “dream” museum project be?  (Ethical project of course!)
I dream of starting a global conversation about ethics in museums that would result in curriculum modules for museum studies programs and ongoing opportunities for museum professionals to engage in a dialogue about the kinds of ethical dilemmas they face regularly.   Absent the pressure of a real problem to solve, talking about ethical issues can be engaging as well as challenging and it would be great to see this conversation become a part of life as a museum professional.


Thanks again to Sally for sharing such great thoughts and information!  Make sure to check out the new website for Sally's book, or click here to purchase A Practical Guide to Museum Ethics directly.


And now .... A CONTEST!

As a special bonus for ExhibiTricks subscribers, we will be awarding two copies of Sally's new book, A Practical Guide to Museum Ethics (one copy to each of two lucky ExhibiTricks subscribers in a random drawing held at the beginning of June.)  

Not already an ExhibiTricks subscriber?  Just click on the "Sign up for Free ExhibiTricks Blog Updates" link at the top right side of this blog page to become a subscriber and get a chance for one of the two free books!

If you're chosen as one of the winners, we'll contact you to ask for your shipping information.  Good luck!






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Wednesday, May 18, 2016

Have you tried making your museum a more interesting place?


The title of this post is inspired by some ideas from Austin Kleon (his newsletter is really worth subscribing to, and Kleon's book "Steal Like An Artist" is a great read ...) where he relates several (possibly apocryphal) tales of writing teachers giving similar tough, but straightforward, advice to their students who want to become more interesting writers.


"Have you tried making yourself a more interesting person?" 


The upshot of Kleon's musings boil down to the idea that if you want to be interesting, you have to be interested.

I started triangulating this notion of becoming a more interesting person with possible ways of creating more interesting museums, based on my love (and previous blog posts: here, here, and here) of "Museums Worth A Special Trip."

How can museums not currently worth a special trip become more interesting?  Let me immediately suggest two overused approaches that many museum folks try that quite often lead to less interesting museums:

1) Equating bigger with better   Of all the blunt force approaches to becoming a more interesting museum, nothing beats a large building (or building expansion) project.  Here's a news flash --- most museums should be improving their existing programs, exhibits, and facilities, not becoming bigger.

2) Adopting "best practices"  Best practices for who?  Best practices for where?  I'd argue that every museum should develop practices that are unique to their location and the communities they serve.  Why try to apply a "one size fits all" approach?


When I think about museums that I (and many other people!) find truly interesting, places like The City Museum in St. Louis, The Discovery Museums in Acton, MA, or the Children's Museum of Pittsburgh  the staff in these places seem to share a resistance to growth for growth's sake, or merely adopting someone else's notion of "best" practice, and instead have an insatiable desire to try new stuff, to experiment, and, most importantly, to quickly iterate through the physical manifestations of their ideas and to trust that their visitors will respond to their efforts --- even their failures.

Maybe another way to develop more interesting museums is to get things WRONG the first time!  To really push for ideas and interests that aren't completely tested and "safe" in every instance.


My wish is that you can discover something(s) in your own institution to become really interested in, so you can create an even more interesting museum for yourself and your visitors.

Onward!



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Monday, May 9, 2016

Collective Impact: Impressions of the 2016 InterActivity Conference


Children's Museum colleagues from around the world (including representatives from Bulgaria, El Salvador, Korea, Israel, Nigeria, Australia, and China!) recently converged in Connecticut to meet, learn, and discuss about topics of common interest during the annual InterActivity Conference put on by the Association of Children's Museums (ACM).

I attended the entire conference, so I offer my impressions here for those who were not able to attend, but also to give a sense of the current state of the Children's Museum field.

The theme of this year's conference was "Collective Impact." Building on the notion that no single organization can create large-scale lasting social change, but rather we have more impact when different parts of the community work together.



This theme of collective impact --- of learning together and changing the world through common cause was evident throughout the sessions and keynote talks at the conference.

Here are my impressions of the sessions and events that I participated in:

Welcome Dinner and Opening Program
This was a great way to start the conference by getting everyone together.  A nice opportunity to eat and chat with old friends, and to meet new colleagues.  In addition to the meal the program featured Jeff Edmondson, the Managing Director of StriveTogether, and a Children's Museum "Fashion Show."

Mr. Edmondson's talk, while energetic, felt a little too motivational speaker-y for my tastes. It also felt a bit like a generic talk that could be presented to any kind of professional group (in fact, Mr. Edmondson misspoke and said "Children's Hospitals" instead of "Children's Museums" at one point and got quite flustered apologizing for a simple mistake.) But extra points to Mr. E for his energy and brevity!

The Museum Fashion Show was quite fun, since every participant had a DIY outfit with elements highlighting some part of their museum's programs or exhibits.  Pictured below is Megan from the Fairbanks Children's Museum with a book dress highlighting the Fairbanks "take a book" program that allows young visitors (who are often upset when they have to leave the museum) to take home a children's book from a designated book shelf near the front desk and entrance/exit door.



Thursday Morning started with a great Professional Networking Breakfast where I found out a little bit about the "Mind in the Making" program -- a way for the public and organizations like museums to plug into children learning research,  and also the Daily Vroom app --- a way for parents to discover "brain building" activities with their kids using their everyday activities.  I'll definitely be looking more into both of these resources, based on my fortuitous breakfast conversations!

Thursday morning I attended the Material Matters 2.0 session, which I found interesting and useful. I love a session that gives me practical takeaways!  Panelists spoke about the pros and cons of using specific materials in exhibit projects and brought samples for folks in the audience to handle and look at. For example HDPE is a good material to use for removable access panels since it holds up to repeated inserting and removing of mechanical fasteners. It would be great to have more deliberately practical sessions like this at every museum conference!



The other Thursday morning session I attended was called "Engaging a Community Through Social Media" and it also was a winner.  Three museum practitioners and a marketing professional gave their practical tips and experiences with Social Media through examples.  One great takeaway for me was the idea that nowadays people often come to your Social Media channels first, and then your website. So it's important to think about how best to use your resources for your institution's online presence.


The entire rest of the afternoon was spent inside Norwalk City Hall in a format of presentations inspired by New England Town Hall meetings.   Let me start off with a positive by saying the local Soweto Melodic Voices musical group were amazingly entertaining.


As for the rest of the Town Hall program, it was, frankly, a train wreck --- if a train wreck could also be boring. The format of speakers pouring out dense bits of information very rapidly with little, if any, interaction with the audience felt like being forced to drink from an informational fire hose --- if drinking from a fire hose could also be boring.

I know the organizers' motivations for developing a Town Hall format were good, but I'd like to offer a suggestion for future ACM Conferences in the form of a Town Hall resolution.

RESOLVED:  ACM and InterActivity Conference Planners shall offer interactive session blocks on selected topics such as the "Achievement Gap" instead of theatrical programs that force all conference attendees to passively be gathered into one large auditorium space.

If an entire session block of eight or nine smaller sessions had been offered around the topic of the Achievement Gap, for example, with each smaller session focusing on an aspect of the Achievement Gap like Education, Health Care, Literacy, etc.  We could have then gathered as an entire conference group to have each session moderator report out on what was discussed in a more digestible (and actionable!) format.

(For context: when InterActivity was in Pittsburgh a few years ago, an extended session format of "Small Talks" (like TED talks) was introduced.  It was fun and successful.  Since then, subsequent InterActivity hosts have tried similar extended sessions for all the conference attendees at once that have been much less successful. People come to conferences to learn things and interact with their colleagues, not attend a multi-hour lecture.)

Stepping off soapbox now ...


Moving on to the Thursday evening event, hosted by Stepping Stones Museum.  It was wonderful in every way.  Stepping Stones has a super museum and their staff and sponsors offered plenty of inspiration (AND plenty of great food and drink!) for everyone.



Friday sessions included excellent presentations on working with artists and developing museum leadership, entitled respectively: "Need a New Knockout Installation? Try Partnering with an Artist" and "Strategies to Develop the Next Generation of Leaders."   Both sessions were really well done and involved good takeaways.  One interesting connective thread between the two topics that I found was the importance of clear communication and expectations making the difference between highly successful (or less successful ..) interactions between museum staff themselves or with museum visitors.

Another highlight of Friday was the ACM Marketplace, where vendors show off their ideas and wares to the Children's Museums community.  There were a good range of folks showing interesting stuff, but I especially liked nWave letting me pet Owlbert the owl!


The 2016 InterActivity conference wound up for me with a morning session entitled "Mistakes Were Made." I was one of the speakers/facilitators that first shared our own mistakes and lessons learned, and then small groups shared their mistakes/lessons before one grand mistake winner was chosen, and awarded the coveted "Mistakes Were Made" trophy.  You'll have to attend next year's InterActivity conference in Pasadena to ask Brenda Riley, the Director of Fairbanks Children's Museum to share her prize-winning story (and lesson!) with you herself.



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