Category Archives: Field Notes

Museums & the Future of Learning

By Emily Kotecki and Jill Taylor, North Carolina Museum of Art

Over the last year, the North Carolina Museum of Art has been documenting the design process we’ve been using in our IMLS planning grant on the role of museums in next-generation learning. On Saturday, January 30, 2016 (after a week’s delay due to weather), we held a Thought Partner Summit for our two advisory panels and a Future of Learning panel discussion for the public to reflect on the work we’ve done so far and prepare for the final stretch of our grant.

In the morning, our collaborative planning team of P-16 educators from across the state met with three out of the nine thought partners (the other six were not able to attend the rescheduled event). These thought partners are national leaders in the fields of education, museums, and technology. Working in affinity groups, they shared ideas about teacher professional development, experiences for students that happen online and onsite, and participatory gallery spaces. Thought Partners helped groups become aware of potential models for programs, recognize gaps in our planning, and find connections between prototype ideas.

We then invited the public to join the discourse in a lively panel discussion that afternoon (#NCMAfuturelearn) investigating the future of learning and the role of the art museum in shaping and supporting that future. Sylvea Hollis, from the Center for Future of Museums, moderated a panel featuring Corey Madden, executive director of the Thomas S. Kenan Institute for the Arts; Matthew Rascoff, Vice President of Learning Technology and Innovation at the University of North Carolina; and Dr. Keith Sawyer, Morgan Professor of Educational Innovation at UNC-Chapel Hill. The full panel discussion recording is linked here through Livestream.

Here are three (of many) big takeaways from the panel that help us take a closer look at what the future of learning might look like and what role museums might play in that future.

1. How to maximize the learning space

The environment in which people learn can have a huge effect on how they learn, what they learn, the questions they ask, the ideas they generate and so on. Corey Madden used her combined experience as a leader at Kenan Institute for the Arts and a practicing artist to think about how spaces can help shape a learner’s perspective and develop new ideas.

“The key idea of education and art is the creation of perspective. What I’m most interested in, is to give that experience to the audience…It’s not me imposing [my] perspective on them…it’s an invitation, a provocation…to use their curiosity to find themselves in a place where that new perspective is created and that generates more and more ideas.”

But what if that space is virtual? Physical? A hybrid?  What are opportunities in person that are not possible online, and vice versa?

For all the technology we have access to, the “social cultural needs of human beings haven’t changed,” says Corey. We can watch a lecture online and then use that to catapult us into a lively discussion with peers when we get to class or the museum. Technology can free up learners to engage with the human part of themselves. She continues:

“If you combine the portal of technology, the reality of the actual space, and the incredible imaginative capacity of students, you can imagine that you can use place and space to transform how people learn.”

2. Imagining jazz-inspired learning frameworks

If you listen to improvisational jazz, it’s not completely improv. That smooth melody is guided by some sort of structure, whether it’s a genre, chord, or song form.  Similarly, Dr. Keith Sawyer, a jazz pianist, sees effective creative learning as “a process of discovery, a process of experimentation, a process of making failures, and switching gears. I think of it as an improvisational process that is necessary to … becoming an effective creator.”

But the paradox he sees for educators is to: (A) engage in “an improvisational dialogue where the teacher is the one that provides the guidance,” and then (B) balance the top down constraints that come from institutional budgets, state testing, and curricula with the necessary need for “bottom up improvisational creativity that is driven by the learner.”

During the Q&A portion of the panel, a student in the audience who is also a member of the NCMA Teen Arts Council, shared her experience with a teacher who made learning AP Calculus engaging, creative, and relevant to her.

“I’m bad at math, that’s why I love art so much, but I’m in an AP Calculus BC course and I’m doing well in it because my teacher knows how to create an environment where I can learn the way that’s best for me. For example, I made a music video about calculus. Instead of ‘Take me to Church’ by Hozier, [we created a video called] ‘Take me to Calc.’”

Sawyer added that creative learning is not and should not be isolated to the arts, but creative learning should be happening in all fields. “We need creative scientists, we need creative writers, we need creative historians, and we need creative mathematicians.”

3. Technology: Enabler of Human Connections

Matthew Rascoff predicts two categories of technology that will have the biggest impact on the future of education. The first, that he believes is “years off,” is incorporating adaptive learning into education. In this scenario, computers understand the learner’s patterns, make sense of those patterns, and then tailor the experience to exactly what the learner needs at that time.

The second category of edtech which is not years off, but in fact happening right now and will continue to do so, is “using technology as an enabler of better connections among and between people.” It can foster communities of learning so anyone can access and benefit from knowledge about a topic. For example, the Brooklyn ASK app connects curators to the general public in real time. As visitors have questions about an object, they can connect with an expert to share insight and answer their questions.

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Innovation Studio staff from the Carnegie Museum exploring the Brooklyn Museum’s ASK app. Photo: Drew McDermott, http://studio.carnegiemuseums.org

Shelley Bernstein, Brooklyn Museum’s Vice Director of Digital Engagement & Technology, speaks to this exact point in an interview with Nina Simon:

“The pilots showed us visitors were looking for a personal connection with our staff, wanted to talk about the art on view, and wanted that dialogue to be dynamic and speak to their needs directly.”

Echoing Corey’s point earlier – learners can use technology to enhance the human experience and desire for learning.

This discussion was interesting because it focused on themes, ideas, and projections for education as a whole and never got stuck in talking about one ‘type’ of education. In the quotes above and throughout the event, the panelists use the terms ‘educators’ and ‘learners’ interchangeably with ‘student’ and ‘teacher.’ This change in language is one step in the right direction to breaking down silos between educational institutions and organizations. The takeaways are applicable to myriad learning spaces, whether they’re on a college campus, in a museum, community center, or even senior center.

Please share your feedback, comments, or responses on how museums are integral to the future of learning.

The Museum Salary Conundrum & a 21st Century Salary Agenda

Written by Mike Murawski

In recent years, there has certainly been increased awareness and discussion about salaries within the museum profession.  I can speak from my own place within the field of museum education when I say that this has become a very frequent (and more urgent) topic of conversation at conferences, leadership convenings, and professional meetings in recent months.  Thanks to the efforts of museum activists involved with movements such as Museum Workers Speak, #MuseumsRespondtoFerguson, protests at individual museums, and several leaders in our field, we are seeing an increase in awareness around museum labor practices, hiring, and worker pay as well as the intersection of these issues with race, gender, and class.

Last week, Joan Baldwin wrote an insightful and widely-read piece entitled “Museums and the Salary Conundrum” via the Leadership Matters blog — a site that emerged in conjunction with the 2013 book of the same name written with Anne Ackerson and studying museum leadership in history and cultural heritage organizations. In her post, Baldwin so clearly and boldly frames the problem of museum salaries:

“we work in an underpaid, under-resourced field. And for too long, too many people have told us that it is such a privilege to participate, that we should suck it up, deal with the fact that we’re thirty and still need roommates to pay the rent, and revel in the fact that we have a museum position.”

Joan quickly followed her post with another this week entitled “The Salary Agenda,” in which she and Anne take a stab at what they think a Museum Salary Agenda for the 21st Century could look like.  I really appreciated this action-focused series of items, which can begin to help the conversation focus on real change — from professional organizations and institutions to graduate programs and individuals.  Here is a quick repost of their Agenda, and I invite everyone to read their entire post and add comments to the already-active conversation on their blog.

From Leadership Matters:

What Professional Associations and Museum Service Organizations Can Do: 

  • Establish and promote national salary standards for museum positions requiring advanced degrees.
  • Encourage museums to demonstrate the importance of human capital in their organizations.
  • Make salary transparency part of the StEPS (AASLH) and accreditation process (AAM).
  • Support organizations in understanding the need for endowment to support staff salaries. A building and a collection don’t guarantee a museum’s future. People do.
  • Create a national working group for #Museumstaffmatters.

What Institutions Can Do: 

  • Encourage networking and individual staff development.
  • Make every effort to provide salaries that exceed the Living Wage.
  • Educate boards regarding the wastefulness of staff turnover.
  • Make criteria for salary levels transparent.
  • Examine the gaps among the director’s salary, the leadership team and the remaining staff.
  • Offer equitable health and family leave benefits (and make them available on Day One of a new hire’s tenure).

What Individuals Can Do: 

  • Do your homework. Understand the community and region where you plan to work.
  • Use the Living Wage index.
  • Be prepared to negotiate. Be prepared to say no. A dream job isn’t a dream if your parents are still paying your car insurance and your mobile phone bills.
  • Ask about the TOTAL package not just salary. If you are the trailing spouse and don’t need health insurance but do need time, make that part of your negotiations.
  • Network. Know what’s going on in your field, locally, regionally, nationally.

What Graduate Programs Can Do:

  • Be open about job placement statistics
  • Teach students to negotiate salaries and benefits.
  • Teach students to calculate a Living Wage plus loan payments and quality of life.
  • Encourage networking, mentoring and participation in the field.

Just as Joan and Anne are not speaking from a position of having solved all these problems, neither am I.  However, I wanted to share their recent writings and ideas as a way to ensure that this conversation remains strong within the field of museum education.  As we enter the spring season of conferences (AAM, NAEA, etc.), let’s make sure to keep these issues at the forefront of many of our conversations about diversity, inclusion, and leadership and work toward making appropriate and necessary changes within our professional organizations and institutions.

Thank you to Joan (and Anne) for sparking another important exchange around these vital issues to our field, and thanks to all the museum thinkers and activists pushing this issue through Twitter chats each week and in-person meet-ups across the country.

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100+ participants at the #MuseumWorkersSpeak rogue session at AAM 2015. Photo from Museum Workers Speak.

Header image: Flickr photo by Tax CreditsCC BY 2.0

 

 

2015 Year in Review

As the fourth year of ArtMuseumTeaching wraps up, I thought it would be good to post a brief “Year in Review.”  Not that we need any more end-of-the-year lists or calls for resolutions, but I think it can be meaningful to take a minute and look back at some of the issues that have been on our minds this past year.  I want to thank all of the amazing contributors who have taken the extra time to share their practice with this community!

Since its inaugural year back in 2012, ArtMuseumTeaching has grown from a tiny blog seedling to a robust and active online community now involving more than 60 contributors, publishing 172 posts, and being read by hundreds of thousands of people in as many as 170 countries around the globe.  I hope that this online community and forum will continue to grow, include more perspectives, and be a space of exchange where we can connect on issues of teaching, learning, and community engagement that matter most for museums and the people that make up those museums.

Year in Review: 5 Most Popular Posts of 2015

elgreco15. “320 Hours: Slow Looking & Visitor Engagement with El Greco” (July 2015): We all talk about the value of slow looking and extended engagement with art – and this great post by Kelsey Ferreira provides such a unique insight into her experiences spending 320 hours with a single El Greco painting at the Portland Art Museum. What questions did visitors ask? What types of experiences sparked further engagement and learning?  What surprisingly deep experiences did visitors bring to this stunning painting?  A fantastic read for museum educators and art lovers alike!

fb-art4. “Status Update: Facebook as a Reflection Tool” (January 2015): David Bowles of the Metropolitan Museum of Art shared his insights from posting some of the most indelible teachable moments from his gallery experiences on Facebook, and using social media tools such as Facebook to add a reflective element to our practice. This is a great read, especially with David’s five take-aways for museum educators about student learning in the galleries.

Photo23. “We Flipped Our Museum – Here’s What We Learned” (June 2015): Emily Kotecki shared the work at the North Carolina Museum of Art to deepen and activate the museum learning experience through a Flipped Museum pilot program called “Artists in Process.” They developed an online learning platform to support social interaction and choice-based learning, and then worked with sixteen classes from different cities across North Carolina to research, explore, and reflect on the artistic process. Check out their ‘lessons learned,’ and read more in the Summer 2015 issue of the Journal of Museum Education.

ask_home_new-576x10242. “The Big ASK: Experiencing the Brooklyn Museum’s ASK App” (July 2015): Written after my own visit to the Brooklyn Museum this past summer, I briefly explored the what, how, and why of this effort to rethink the museum visitor experience. While I am still attracted to the app’s desire to make personal connections with visitors, I’m a bit concerned with how few visitors use the app considering the staff and resources dedicated to this project.  But I absolutely love that the team at the Brooklyn Museum is super transparent about their thinking and planning via their blog (so awesome!).

jackie-teaching1. “Questioning the Use of Questions” (January 2015): In the most widely-read post of 2015, museum educator Jackie Delamatre responded to Rika Burnham and Elliot Kai-Kee’s challenge to the use of questions in museum teaching. While there is great value in questioning the use of questions, Jackie’s insightful post defends the use of open-ended questions and brings in some of her own personal experiences.  And her search for the ‘Boeuf Bourguignon of questions’ is not to be missed!

Enjoy these popular posts from 2015, and see you in 2016 — a year that promises to bring a whole new set of challenges, success stories, and new ways of thinking about both the theory and practice of museum teaching.  If you would like to share the projects you’re working on or the issues and challenges you are grappling with, please add your voice to this growing community (and just send me a tweet at @murawski27 or email me at murawski27@gmail.com).

Cheers!

Women in Museums: Two New #MuseWomen Projects

Written by Emily Lytle-Painter, Los Angeles County Museum of Art

The MuseWomen Initiative started in 2013 as an impassioned breakout conference session to talk about women and leadership in the museum technology sector. More meet-ups have followed, and the community has responded positively- this is something people want to talk about! Discussion topics include money, skill acquisition, career advancement, as well as how the museum field could be an example for other technology sectors struggling with implementing diversity across their organizations.

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The more we spoke about how to better support women in the field, the more we realized that we needed to move from talking to action, and thanks to the ongoing leadership of Brinker Ferguson (@brinkerf) throughout 2015, we have made some important strides in establishing two new projects.

MuseWomen Mentors

Our pilot mentorship program, chaired by Liz Filardi (@lizfilardi) of the Met, is designed to supplement the MCN2015 conference experience (with no formal affiliation to MCN). Mentoring is one of the most important ways to establish a foothold in a community, and we created this program to bring intention and a lightweight structure to something you may already be doing unofficially.

Here’s how it will work: Prior to the conference, we will carefully assign mentor/mentee pairs based on the responses. On the first day, we will host a casual meet-up, and on the last day, we close with happy hour. That’s basically it. We’ll provide some tips to make the most of the experience, but you decide the rest: when to meet during the conference and if you want to keep in touch afterword.

Anyone attending MCN can participate as a mentor or a mentee. If you aren’t going to the conference, please share your email with us anyway, for (what we hope will be) future online iterations.

To join us, please complete the mentorship questionnaire by October 1.

MuseWomen Survey

Additionally, we are collecting information to better understand some of the opportunities and roadblocks for women in the field. Designed by recent graduate Cait Reizman (@MuseumAdvoCait), this survey will help us to better understand the employment landscape for aspiring, current, and past museum workers, interns, and volunteers.

We seek responses from people of all gender identities who live in the United States. Data collected will be anonymized and used to report on women working in museums. We hope to present on the information gathered at future conferences as well as publish a report online in 2016.

The survey takes about 5 minutes, and we are looking for about 50 more responses. Please share your information on the survey by October 1.

Questions about the #MuseWomen Initiative can be directed to the #MuseWomen team at musetechwomen@gmail.com. We look forward to hearing from you!

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Header Image: TechCamp Tel Aviv, Photo by Matty Stern, U. S. Embassy Tel Aviv.  Flickr.com.

It’s Time to Recognize Excellence: NAEA Awards

As art museum educators, we get so wrapped up in our own practice and day-to-day work that there are many things we sometimes do not have time for. From writing that article we’ve always wanted to write to simply spending more time in the galleries looking at art, we can get so busy that these things speed past us. Too frequently, recognizing the work we do as educators also falls by the wayside. So I am calling on you to press the pause button for one moment and recognize the excellent work your peers are doing in the field.

It’s that time of year when we nominate outstanding colleagues in order to recognize and celebrate their efforts and achievements. The NAEA Awards Program  honors exceptional NAEA members from across the seven divisions for their exceptional service and achievement during previous years.  We will honor these great educators in a joint cross-division ceremony during the 2016 NAEA National Convention in Chicago.

Nominate a colleague for the National Art Education Association Museum Division Awards! This is such a simple process, and you can nominate any current NAEA member for Regional Awards as well as the National Award.

Submissions are due October 1!  So act now!

To submit a nomination or to learn more about the NAEA Awards Program, visit http://www.arteducators.org/grants/naea-awards

Here is all that you will need to do:

  1. Take 5 minutes and think of someone who is making a difference in your work as a museum educator — whether they are a super supportive mentor, a transformative colleague, or an emerging educator whose hard work is deserving of recognition.
  2. Contact them — shoot them an email saying that you think they simply ROCK, and that you would like to nominate them for an NAEA Museum Division Award (regional or national).
  3. Write a short letter saying how great they are! What has been exemplary about their practice or their role in the field of museum education? What impact are they making at their institution; in their community; in the National Art Education Association? How have they pushed you to become a better educator? Please make them blush when they read it.
  4. Ask your rock star nominee to fill out the short CV form (download editable PDF here) and to select 2 people to write short, glowing letters of support. Again, this is usually very easy, since as a field we are all here to support each other and recognize excellence. Ask the nominee to have their support letters sent directly to you.
  5. Submit this entire packet (nomination letter, CV form, and 2 letters of support) to awards@arteducators.org no later than October 1st. Please don’t miss this deadline! We really want to consider your nomination and recognize excellence in your colleagues.

You can find all of this information and forms by visiting the NAEA Awards website here.

Over the past 30+ years, the National Art Education Association has recognized excellence in nearly 150 museum educators that are members of NAEA, many of them are mentors and colleagues that we have had the pleasure of working with or continue to work with now. The list includes “movers and shakers” in our field, but also the quiet, modest, yet powerful educators who would not have been recognized without being nominated by someone like yourself.

So take the time to recognize the excellent and transformative work happening in our field, and nominate someone for an NAEA Award!

If you have any questions at all, or need help with this process, do not hesitate to email me at murawski27@gmail.com or Melissa Tanner at mtanner1@artic.edu.

Remember that the deadline for submitting nominations is October 1st!

Asking Beautiful, Scary Questions: Reflections on “Leading the Future of Museum Education”

Written by Karleen Gardner, Director of Learning and Innovation, Minneapolis Institute of Arts

Reposted from the Museum Education Roundtable’s JME40 blog. Be sure to check out their posts exploring the evolution of the Journal of Museum Education during its 40 volume run as a reflections of the field at large.

I recently enjoyed traveling to the great city of Denver, Colorado and participating in the Leading the Future of Museum Education: Challenges and Opportunities, a convening of an amazing group of museum leaders from across the country. This event (May 2015), co-hosted by Bank Street College’s Leadership in Museum Education and the Education Professional Network (EdCom) of the American Alliance of Museums, offered a much-needed opportunity for educators in our field to come together and discuss issues, the future, and ask beautiful, scary questions.

In her opening remarks, Sarah Jesse, chair of EdCom and Vice President of Education at the Los Angeles County Museum of Art, introduced the idea of beautiful questions inspired by the book A More Beautiful Question by Warren Berger. A beautiful question is:

“an ambitious yet actionable question that can begin to shift the way we perceive or think about something—and that might serve as a catalyst to bring about change.”

Such questions seem to be ingrained in our DNA, for in 1987 a group of 25 art museum educators came together in Denver to explore similar issues and reforms, and to develop a collective vision for the future of the field. The Journal of Museum Education (JME) Volume 13, Number 3, Fall 1988, was dedicated to sharing the insights and key issues from the Denver Meeting. Guest edited and authored by the organizers and participants of that meeting, the JME issue reflected the individual thinking generated through their discussions and widened the conversation to engage more educators from across the field. I am proud to say that two representatives from my museum were in attendance in 1987.

Twenty-eight years later in Denver, our brainstorming and discussions focused on many of the same topics: the empowerment of museum educators as leaders; making our work visible; professional development and career tracks; visitor-centeredness; the lack of diversity and inclusion in our field; and leading change.

Photo by Rachel Goldberg ‏@EducatorRachel
Group brainstorming during convening. Photo via Twitter by Rachel Goldberg ‏@EducatorRachel

Much of the program and conversation in Denver focused on change on many different levels—the ever-changing and vast-paced world in which we live, the shifts and much-needed changes in our field and institutions, the rethinking of museum education, and the changes in us as individuals. Both Kaywin Feldman, the Duncan and Nivan MacMillan Director and President of the Minneapolis Institute of Arts, and Marsha L. Semmel, principal of Marsha Semmel Consulting, spoke of our VUCA environment and the need for adaptive and strategic leadership. VUCA is short for volatility, uncertainty, complexity,and ambiguity, and a catchall for our turbulent, dynamic reality. In order to thrive, we must have vision, understanding, clarity, and agility and be willing to experiment and take risks. Laura Roberts from Roberts Consulting points out there is no one way or single path to get us where we want to go and the “best practices” from the past won’t be sufficient.

We must challenge ourselves to find these new paths and ask beautiful, scary questions, which will inspire us to take risks and head into uncertain territory, and possibly fail. Some of the beautiful questions that emerged from our brainstorming and conversations in Denver:

  • How might we encourage greater diversity and inclusion in our field?
  • How might museums become truly visitor-centered institutions?
  • How might we find balance in engaging both our core and new audiences; balance between co-creation and expertise?
  • What if we broke down silos and collaboration was the new norm?
  • How might we rethink our work with the public education sector?
  • How might we harness the power of technology to expand access, improve engagement, and try new approaches to our work?
  • What if excellence isn’t enough?
  • What if educators became more empowered and began breaking the rules?

To begin exploring the strategies and solutions to these beautiful questions, we must become adaptive leaders and both individually and collectively embrace the gradual but meaningful process of change. Marsha Semmel introduced us to John Seely Brown who believes in social, participatory learning and teaches us that museums need to stop protecting our assets—our stocks—of authoritative knowledge and instead nurture our flows—creating new knowledge. We are poised to cultivate these flows.

Photo via Twitter from Wendy Ng ‏@twin_muses
Marsha Semmel presenting. Photo via Twitter from Wendy Ng ‏@twin_muses

Laura Roberts, who was asked to reflect on and summarize the convening stated in her closing remarks, “museum educators routinely use the sort of skills an adaptive leader needs. Moreover, if we are going to shift our museums from a focus on objects to a focus on visitors and community, it is clear we are positioned to lead the way…” She noted these observations about our character:

  • Educators are trained to elicit observations and points of view and to bring people together in dialogue. We are good facilitators. We have those “soft skills” to be boundary spanners.
  • We are clever, creative, and imaginative. We are good problem solvers. We are good listeners.
  • We practice the skills of collaboration and partnering. We are matchmakers and brokers.
  • We often serve as the integrators in the institution, bringing disparate staff together.
  • We are often “empowerers.” Many educators are refreshingly light on ego.

We have these skills, and we also need to become more empowered and better advocates for our values, our expertise, and our audiences. Insights on the 1988 Denver Meeting from Diane Brigham in JME echo this concept, stating that our role is essential in serving the missions of our museums and that:

“when we realize that we offer abilities that no one else in the museum can contribute, we are better able to offer leadership. We empower ourselves when we are clear about what we are and have prepared ourselves to practice our profession with rigor.”

It is essential for us to be more rigorous and confident in articulating our goals and vision, and ask beautiful, scary questions that will serve as catalysts for innovation and change in our field and our communities.

What are your beautiful, scary questions?

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You can check out #leadmuseumed tweets from the convening here: https://twitter.com/search?q=%23leadmuseumed&src=typd

More brainstorming artifacts from convening. Photo via Twitter from Kaywin Feldman ‏@KaywinFeldman
More brainstorming artifacts from convening. Photo via Twitter from Kaywin Feldman ‏@KaywinFeldman
Photo of full group of museum educators and thought leaders convening in Denver for "Leading the Future of Museum Education" (May 2015)
Photo of full group of museum educators and thought leaders convening in Denver for “Leading the Future of Museum Education” (May 2015)

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About the Author

karleengardner-150x150KARLEEN GARDNER is Director of Learning Innovation at the Minneapolis Institute of Arts. She leads initiatives and experiments in interpretation and learning, and works to make the museum accessible and relevant for all audiences. Karleen currently serves on the board of directors of the Museum Education Roundtable, on the editorial team, and as a peer reviewer for the Journal of Museum Education.

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Header Photo by Ann Rowson Love via Twitter @annrowsonlove

Mind the Gap: Art Museum Education, Academia & the Future of Our Field

Written by Dana Carlisle Kletchka, Palmer Museum of Art

Keynote Address as National Museum Education Art Educator of the Year, Museum Division Awards Ceremony, NAEA National Convention, March 26, 2015

I would like to begin by thanking the National Art Education Association, the leadership and members of the Museum Education Division, and the colleagues who so kindly nominated me for this award, including Dr. B. Stephen Carpenter at Penn State and Dr. Leslie Gates at Millersville University, both of whom are inspiring educators and supportive colleagues. I would also like to thank Dr. Pat Villeneuve, my mentor from the very beginning of my journey into art museum education who nurtured my interests and provided guidance when I was a (perhaps overly-eager) graduate student at the University of Kansas in the mid-1990s.

What would happen if we reconceptualized writing as an important part of our praxis and practice, and re-prioritized the sharing of information as a necessity rather than viewing it as a luxury? What impact would that have on our field?

I am really proud to see other profoundly dedicated art museum educators in the room who started their careers around the same time as I did, including Amanda Martin-Hamon, Kristina Walker from the Spencer Museum of Art, and Ann Rowson Love at Florida State University. I would be terribly remiss if I did not also thank my incredibly supportive spouse, who is at this time taking care of our two children while I enjoy a brief respite from a Northeastern “spring” in the company of a few thousand fellow art educators. Lassiez le bon temps ruler!

Immediately after it was announced that I won this award, a friend messaged me a note of hearty congratulations and asked if there were any prizes that came along with the award or if it just came with undying fame and glory, at which point I recalled the awards ceremony from last year and realized that the prize with this particular award is the opportunity to share a few thoughts with fellow art museum educators about our field. And then I realized that rambling comments probably wouldn’t cut it and that I needed to really hone in on one subject that I care about—which is, in fact, harder than I thought it would be.

This is my 19th NAEA conference. My first conference was right here in New Orleans. I was a graduate student at the University of Kansas in art education with a concentration in Art Museum Education and I recall flipping through the convention book meticulously, noting the museum division presentations, highlighting the higher education offerings and really struggling over which ones I should be attending. As a graduate student, I wanted to hear from the professors and researchers who were theorizing the field, but as a future practitioner, I was eager to learn from those who were doing the work that I desperately wished to do. It was a quandary deeply felt: which sessions should take precedence? And why?

Even still, thoughts about the relationship between the fields of art museum education and academia are never terribly far from my mind, mostly because I went through the process of earning a doctoral degree in art education, I work at a university art museum, and I teach courses under the auspices of an art education program and an art history department. These thoughts have returned to the forefront lately as a result of a few separate but related events:

First, I am currently co-editing a book on professional development opportunities as they occur in the art museum context, particularly those that utilize contemporary art, which is something I don’t know that I ever would have considered without the suggestion and encouragement of my co-author, who is a tenured professor and whose favorite phrase is “you should be writing about this!” In the conversations that provided the impetus for the book proposal, I recall saying that I thought there were a number of really important voices that simply weren’t being heard because, as art museum educators, we are neither required nor encouraged to publish in the same way as our curatorial counterparts. Art museum educators in general don’t have the luxury of time to reflect on their work, much less write about it, either formally or informally. The problem is that our silence cannot build a foundation for our newest colleagues or expand the understandings of our more seasoned peers.

Second, because very recently on Twitter, Mike Murawski brought me in on a conversation with Michelle Grohe, Elizabeth Nevins, and Susan Spero about who, exactly, is writing about the theory and practice of our field, what resources are necessary to enable a broader discussion to take place, and whether or not we should ditch the “old, outdated hierarchies of publishing, knowledge, and authority.” Arguably, both digital and traditional publishing are valuable—even the academy is rethinking its relationship with digital publishing, mostly through digital humanities. In our field, ArtMuseumTeaching.com has emerged as a vital space to exchange ideas and share resources. I’m proud to be a part of it even in very small ways because it helps to fill a longstanding need for a community of practice amongst geographically dispersed art museum educators. I should also mention here the monthly Google Hangout peer-to-peer initiative of the NAEA Museum Division, which is a great way to hear other art museum educators talk about salient issues. But I also worry that we are neglecting a commitment to the broader, more rigorous practice of academic writing at our own peril.

Photo by Sean MacEntee via Flickr. Creative Commons Attribution 2.0  (CC BY 2.0)
Photo by Sean MacEntee via Flickr. Creative Commons Attribution 2.0 (CC BY 2.0)

Third, in the recent past I began serving on committees with masters and doctoral students in art education who are interested in the field, which lead me to consider more carefully the ways in which art museum educators are prepared for their careers. I want to be clear that I don’t think that there is any one best path to becoming an art museum educator—the field is too diverse and museums are incredibly complex institutions. As I understand it, the most common academic paths for our field include masters’ level degrees in art history, art education, or museum studies programs. Some universities offer minors, areas of concentration, or one-year certifications in museum education either in residence or online. Most of us had at least one internship at a museum. If you don’t mind indulging me with a bit of informal data-gathering, I would like to see a show of hands in order to get a sense of the professional preparation of those in the room.

Please raise your hands if you have a bachelors/masters/PhD?

In art education/art history/educational theory/curriculum & instruction/studio art/(other)?

How many of you did some sort of internship or professional preparatory experience in a museum?

Okay, now: many have published digitally/in peer-reviewed publications/in books?

"Library" by Stewart Butterfield, via Flickr. Creative Commons Attribution 2.0 Generic (CC BY 2.0)
“Library” by Stewart Butterfield, via Flickr. Creative Commons Attribution 2.0 Generic (CC BY 2.0)

It seems clear that people who have spent this much time researching and writing required papers and masters theses are up to the challenge of writing—your backgrounds are more academically advanced and intellectually rigorous than most people in the workforce today. But if our conversations yesterday are any indication, the primary reason that we do not publish is a lack of time rather than a lack of interest. What would happen if we reconceptualized writing as an important part of our praxis and practice, and re-prioritized the sharing of information as a necessity rather than viewing it as a luxury? What impact would that have on our field?

The title of my talk is “mind the gap,” which, in addition to being a nice way to remind people to watch their step as they are getting on or off the train in Great Britain, is a call for us to attend to the separation between academia and our field. A few considerations that might inform our thoughts include:

  1. The field is moving away from having an academic home, even as more and more museums are asking for their high-level staff to have advanced degrees, including PhDs. These are widely available in art history, art education, and education. Is it time to consider which of these might be the most flexible, transdisciplinary, and appropriate space to situate our growing field?
  1. The people who teach classes that prepare art museum educators are most generally non-practitioners or individuals who have been out of the museum for a number of years, which is a reality for most academic fields, yet it concerns me nonetheless. Things change, in academia, in education, and museums. How can we as a field reconcile that our practitioners are not always part of the academic preparation of the newest generation of educators? Is it possible to change that, and how?
  1. Increasingly, foundations are interested in the professionalization of our field, notably the Andrew W. Mellon Foundation and the Samuel Kress Foundation, both of whom support or provide seed money for post-graduate education experiences or positions in art museums. Both are genuinely interested in university art museums to the extent that they have commissioned and published online reports about them. We need to collectively harness the interest of a broader constituency and enliven the discourses within which we work. We must be a significant part of this discussion. The best way to do that is to write about and disseminate information on what we do and how we do it.
  1. Our professional organization cares about the research that we do. NAEA has a research commission with an agenda that “is designed to encourage and disseminate research communicating the value of visual arts education and its collective impact on students, schools, community, and society.”  They call particular attention to Professional Learning by stating “NAEA members across all divisions indicated a need for greater understanding of research methodologies and application of these methodologies for their teaching and research. Professional learning about research supports understanding of implications of research for practice and developing capacities for conducting research.” This is a call to all of us.

In short, I am asking us to “mind the gap” not only over a concern about the separation between theory and practice, but also because of the deep belief that we are the most qualified individuals to shape and mold our field. We owe it to the next generation of art museum educators, and we owe it to ourselves.

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Featured Header Image: “Mind the Gap” by Robert Donovan, via Flickr. Creative Commons Attribution-NonCommercial 2.0 Generic (CC BY-NC 2.0)

Time to Honor the Best Jugglers Among Us

Photo by Scott Ableman, flickr.com
Photo by Scott Ableman, flickr.com

As museum educators, we all have those moments when we feel like we’re juggling a thousand things all at once.  And we all know someone who is absolutely masterful at calmly balancing everything while they coordinate the opening of a new building expansion, launch a new app, reorganize a department, evaluate a school program, spearhead transformative community outreach, bring in a new docent class, facilitate a summer teacher institute, or organize a conference — often all at the same time : )

Over the next week, I challenge everyone to take a few minutes, think about those colleagues and peers of yours that are truly exemplary in our field, and follow a few simple steps to nominate them for an NAEA Museum Division Award.  Whether they can walk on hot coals, swallow swords, or juggle bowling balls (metaphorically speaking, of course), they deserve to be celebrated and recognized publicly.  Too frequently, recognizing the work we do as educators falls by the wayside, so I am calling on you to press the pause button for one moment and recognize the excellent work your peers are doing in the field.

Nominate a colleague for the National Art Education Association Museum Division Awards! This is such a simple process, and you can nominate any current NAEA member for Regional Awards as well as the National Award. Here is what you need to do:

  1. Take 5 minutes and think of someone who is making a difference in your work as a museum educator — whether they are a super supportive mentor, a transformative colleague, or an emerging educator whose hard work is deserving of recognition.
  2. Contact them — shoot them an email saying that you think they simply ROCK, and that you would like to nominate them for an NAEA Museum Division Award (regional or national).
  3. Write a short letter saying how great they are! What has been exemplary about their practice or their role in the field of museum education? What impact are they making at their institution; in their community; in the National Art Education Association? How have they pushed you to become a better educator? Please make them blush when they read it.
  4. Ask your rock star nominee to fill out the short CV form (download here) and to select 2 people to write short, glowing letters of support. Again, this is usually very easy, since as a field we are all here to support each other and recognize excellence. Ask the nominee to have their support letters sent directly to you.
  5. Submit this entire packet by October 1st (nomination letter, CV form, and 2 letters of support) to Ben Garcia (BGarcia@museumofman.org) or myself, Mike Murawski (mike.murawski@pam.org), no later than October 1st. Please don’t miss this deadline! We really want to consider your nomination and recognize excellence in your colleagues.

awards_2015You can find all of this information and forms by visiting the NAEA Awards website here.

Over the past 30 years, the National Art Education Association has recognized excellence in nearly 150 museum educators that are members of NAEA, many of them are mentors and colleagues that we have had the pleasure of working with or continue to work with now. The list includes “movers and shakers” in our field, but also the quiet, modest, yet powerful educators who would not have been recognized without being nominated by someone like yourself.

So take the time to recognize the excellent and transformative work happening in our field, and nominate someone for an NAEA Award!

If you have any questions at all, or need help with this process, do not hesitate to email me at mike.murawski@pam.org or Ben Garcia at BGarcia@museumofman.org. Remember that the deadline for submitting nominations is October 1st!

Remembering Maxine Greene

Written by Jessica Baker Kee, Ph.D. Candidate in Art Education, Penn State University, and Pincus Family Foundation Intern, Palmer Museum of Art

Greene-featuredIn the process of living and working as museum educators, we make space to honor Maxine Greene, the educational philosopher, author, and teacher whose writings and teachings have greatly impacted the field of aesthetic education. Dr. Greene, who passed away last week at the age of 96, conducted lectures and taught classes at Teachers College, Columbia University (where she had been professor emerita since 1965) until her passing. She is renowned worldwide for bringing a remarkable sense of empathy, creativity, and imagination into teaching and learning in the arts. Maxine Greene posited “wide-awakeness” as the bedrock of her educational philosophy: a heightened awareness of one’s own sensory, emotional, and spiritual existence, as well as a greater empathic connection to the human community. She believed direct, immediate encounters with works of art were central to the development of this enhanced awareness; in her 1977 essay Imagination and Aesthetic Literacy, she argued that:

“those who can attend to and absorb themselves in particular works of art are more likely to affect connections in their own experience than those who cannot.”

Throughout her career, she was a staunch advocate for “aesthetic literacy” through education in the arts, and argued against overly standardized teaching methods in favor of dialogue, learning from students, and building empathic learning communities in both schools and museums. When we use the work of Dr. Greene to inform our discussion and praxis as museum educators, we place ourselves within a rich tradition of intellectual and creative thought arising from the philosophy of John Dewey and others. Although she had an extensive background in existential philosophy, she remained grounded in everyday teaching praxis, which makes her writing uniquely accessible to a diverse range of students, teachers, artists and educators. I first encountered Dr. Greene’s work as a master’s student of art education, and it was a breath of fresh air in what often felt like a dense and theoretical field of study. Reading her work is an aesthetic experience of its own; her sparkling, lucid writing style draws the reader in as she invokes her own encounters with works of art, literature, poetry and the beauty of nature. Below is a list of her major works that may be of interest to museum teachers:

Feel free to leave your own thoughts, musings, and remembrances of Maxine Greene in the comments, or submit your memories with the Maxine Greene Center’s “Remembering Maxine” webpage (which already has a powerful and growing series of people’s memories and experience with Dr. Greene).  

ABOUT AUTHOR

JESSICA BAKER KEE is a second-year PhD candidate in the Art Education program at Pennsylvania State University. She completed her BA in Art History at Duke University and her MAEd in Art Education at East Carolina University. She has also worked as a museum education intern, a public and private school art teacher, a federal disaster relief agent, and an educational research consultant. Her research is rooted in phenomenology and explores constructions of identity and trauma within pedagogical environments, examining the impacts of race, class, and institutional policy on the lived experiences of art educators and their students. In her free time she enjoys running, yoga, art making and exploring the beautiful trails of Central Pennsylvania. Jessica’s postings on this site are her own and do not necessarily represent Pennsylvania State University’s positions, strategies, or opinions.

The Art Museum Education Consortium and You

Written by Dana Carlisle Kletchka, Co-Editor of ArtMuseumTeaching and Curator of Education, Palmer Museum of Art. 

“Too Much of a Good Thing can be Wonderful.” –Hunter S. Thompson

I’m back from participating in the third meeting of the Art Museum Education Consortium (AMECO) in Seattle, WA, where a group of representatives from various organizations discussed, deliberated, and strategized the current state and future directions of our field in the tranquil setting of the Frye Art Museum. The participants were thoughtful and forthright as they shared insights, resources, and professional opinions about where we have been and, more importantly, where we could and should be going. Although the group was not unanimous in their thoughts on nearly any one topic, a clear exception is the opportunity that technology and social media offer for professional development, communication, and praxis for art museum educators. (see graphic representation of the AMECO proceedings near the bottom of this post)

Museum-Ed Museum Education Summit 2012
Museum-Ed Museum Education Summit 2012

Throughout the meeting, I kept returning in my own mind to two things:

  1. The number of resources that currently exist for art museum educators. When I began my graduate work in the field in 1995, I struggled to find excellent sources for inspiration and professional development. The situation is far, far different now—there is so much exciting work being done.
  2. The ways in which ArtMuseumTeaching.com, as a digital community of practice, can support and encourage the progress and evolution of our field in ways that are both powerful and palatable. We are all incredibly busy, but somehow we make time for a source of information that is powerful, well-curated, social, and welcoming.

To that end, I would like to share the myriad professional resources offered by the groups represented at the meeting. Take a few moments over your lunch break (yes, I know . . . what lunch break?) and click the following links to see the good work being done in and on behalf of the field of museum education:

American Association of Museums’ Education Professional Network (EdCOM) advances the purpose of museums as places of lifelong learning, serves as an advocate for diverse audiences and educators, and promotes professional standards and excellence in the practice of museum education.

ArtMuseumTeaching.com is a digital community and collaborative online forum for reflecting on issues of teaching, learning, and experimental practice in the field of art museum education. It is the goal of this site to connect educators, ideas, and resources around a dialogue about what we do in our practice of teaching and learning.

Bank Street College Museum Education: Childhood, Museum Education (Non-certification), and Leadership in Museum Education programs. The programs emphasize the educational role and mission of museums in a pluralistic society by providing a sound foundation in human development, learning theories, developing learner-centered classroom curricula, and museum policy and practice. Faculty are drawn from both teaching and museum backgrounds and include working museum professionals. The programs combine course and field experiences in both schools and museums.

Canadian Art Gallery Educators (CAGE) is a non-profit association of educators and museums across Canada. Formed in 1989, CAGE has a long history of providing support for gallery and museum educators.

Committee for Education and Cultural Action (CECA) is one of the oldest international committees of ICOM, and as such it achieves the major objectives of ICOM: the exchange of scientific information at an international level, the development of professional standards, the adoption of rules and recommendations, and the realization of collaborative projects.

Engage.org engage is a membership organization representing gallery, art, and education professionals in the United Kingdom and over 20 countries worldwide. engage promotes access to, enjoyment, and understanding of the visual arts through gallery education.

George Washington University Museum Education: Master of Arts in Teaching. The George Washington University developed its master of arts in teaching in museum education in consultation with the museum community. The interdisciplinary curriculum balances academic study with carefully supervised fieldwork, preparing practitioners with the range of knowledge and competencies requisite to leading the profession

Group for Education in Museums (GEM) is a European organization that champions excellence in heritage learning to improve the education health, and well-being of the general public.

Samuel H. Kress Foundation supports the work of individuals and institutions engaged with the appreciation, interpretation, preservation, study, and teaching of the history of European art and architecture from antiquity to the dawn of the modern era.  Among their broad support for art museums, the Kress Interpretive Fellowship provides a new kind of mentored professional development opportunity intended to encourage students to explore interpretive careers in art museums, whether as future museum educators or curators; to strengthen the profession of museum educator within the art museum community; to strengthen ties between museum educators and curators in the shared task of interpretive programming in art museums; and to expand the range of promising career options available to students of art history and related fields.

LEM: The Learning Museum Network Project is a permanent network of museums and cultural heritage organizations to ensure that that can play an active role with regard to lifelong learning and to raise awareness among decision makers at a European level.

Marcus Institute for Digital Education in the Arts (MIDEA), a project of the New Media Consortium provides timely, succinct, and practical knowledge about emerging technologies that museums can use to advance their missions.

Museum Education Monitor tracks and records research and resources in museum education worldwide. The aim of MEM is to help create a “road map” to new and current learning in museum education. Its goal is to enhance the development of theory and practice in the field by both academics and museum workers.

Museum Education Roundtable fosters professionalism among museum educators by encouraging leadership, scholarship, and research in museum-based learning. MER also publishes the Journal of Museum Education, the only journal printed in the United States devoted to the theory and practice of museum education.

Museum-Ed strives to meet the needs of museum educators by providing tools and resources by and for the museum education community. Museum-Ed is a not-for-profit organization dedicated to providing museum educators opportunities to ask questions, to exchange ideas, to explore current issues, to share resources, to reflect on experiences, and to inspire new directions in museum education. Museum-Ed is not a membership organization. All of the resources on the Museum-Ed Web site are free and available to educators in any type of museum, and anyone interested in the field of museum education.

National Art Education Association’s Museum Education Division advances the mission and vision of NAEA, advocating for the value of art museum education in lifelong learning, as well as promoting the needs of educators and the diverse audiences museums engage. The division builds community and develops leadership, advances research and knowledge, and fosters a culture of learning in the field.

University of Texas Master of Arts (MA) in Art Education with a Museum Focus. The purpose of the Master’s Degree Program in Art Education is to provide students with the opportunity, environment, and resources to explore issues in art education, conduct research on a significant aspect of art education, and enhance their knowledge of art and art education.

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Many thanks to Kris Wetterlund and Scott Sayre of Museum-Ed for endeavoring to bring this meeting to fruition while being the most gracious of hosts; to the Kress Foundation for supporting and and participating in this significant event; and to Maketa Wilborn for his ability to summarize, understand, and represent complex issues and ideas.

Maketa Wilborn’s graphic interpretation of the AMECO meeting. Click on image to see a larger view.
Maketa Wilborn’s graphic interpretation of the AMECO meeting. Click on image to see a larger view.

AMECO hosts: Museum-Ed and Frye Art Museum; sponsored by the Kress Foundation

Participating Organizations: Isabella Stewart Gardner Museum, Art Museum Teaching, Marcus Institute for Digital Education in the Arts (MIDEA), Bank Street College, George Washington University, Museum Education Roundtable, Kress Foundation, University of Texas at Austin, Canadian Art Gallery Educators (CAGE), EdCOM/American Alliance of Museums, The Learning Project, Engage.org, Group in Education (GEM), Museum Education Division/National Art Education Association, and International Council on Museums/Committee for Education and Cultural Action (CECA).

Meeting the Future Head On: Future Reports, Trends, & Next Practices

“The purpose of strategic foresight is to prime your imagination to envision different futures — some of the many ways that the world could evolve into more than an amped-up version of today.” – Elizabeth Merritt

What does the future hold for museums?  What are museums (or, more accurately, the people working in museums) doing right now that deserves to be shared, examined, and reflected upon?  How can museums think more critically about their role in the transforming landscape of education — now and in the years ahead?  We all have these questions floating through our minds, but may not often have the time and space to chew on them or hear others’ thoughts.  I, myself, have a pile of printed reports, trend watches, and ‘future of museums’ readings sitting on my desk, and every once in a while I glare at it and wish that I could absorb it all in a few minutes like Neo in the film The Matrix.  Without superhuman powers, though, I decided to dive into that pile this week.

In an exceptional Museum-iD post gathering perspectives from global museum innovators in response to the question “What will museums be like in the future?,” Adam Rozan from the Oakland Museum of California remarked:

“… museums will thrive, using challenges as opportunities to test new business and engagement models, and, in doing so, meeting the future head on.”

So it’s in that spirit that I wanted to bring together and share a group of resources from the past 6 months that present and analyze trends, future thinking, and ‘next’ practices in museums and education that help us meet the future head on.  I hope that you find this list useful, and please add additional resources, links, and ideas to the Comments section below — allowing this to become a more organic resource.  Let’s dive in, shall we…

Visitors engaging with a sea of all images that were posted on Flickr during a 24-hour period and dumped into the exhibition space in the "What's Next" exhibition at the Future of the Photography Museum in Amsterdam. Photo by foamamsterdam
Visitors engaging with a sea of all images that were posted on Flickr during a 24-hour period and dumped into the exhibition space in the “What’s Next” exhibition at the Future of the Photography Museum in Amsterdam. Photo by foamamsterdam

Next Practices in Art Museum Education

NextPracticesIntended to take us beyond “best practices,” Next Practices in Art Museum Education is a new compilation of information from the Association of Art Museum Directors (AAMD) member museums and their innovative approaches to engaging the public with the arts through diverse learning opportunities. Next Practices incorporates 100 case studies of the recent and ongoing educational programming that its member museums have designed and implemented.

The resource underscores the many forms art museum education can take, and provides practical and inspiring ideas for future programming at institutions worldwide.  The resource represents a much-needed survey of the exceptional educational practices happening in art museums across the country, and ranges across ages and types of engagement & learning.

NMC Horizon Report: 2013 Museum Edition

HorizonReport2013Released in November 2013, the NMC Horizon Report: 2013 Museum Edition examines key trends and technologies in the museum sector, as well as significant challenges that museums are faced with in adopting these technologies.  The report hones in on six emerging technologies for their potential impact on and use in education and interpretation within the museum environment:

  • BYOD (Bring Your Own Device): given the increasing number of people who take their smartphones and other devices with them everywhere they go, the BYOD movement is an effort to move away from a top-down system of providing devices toward a practice that instead provides the networks and frameworks through which museum visitors interact with a range of content on their own devices.
  • Crowdsourcing: A method of gathering ideas, information, or content from a wider public community around a shared goal — capitalizing on the power of collective intelligence and public knowledge, as in the case of Wikipedia. Crowdsourcing strategies are being used by museums to curate exhibitions, gathering metadata around artworks or artifacts, promoting community engagement, and crowdfunding new projects.
  • Electronic publishing: Near and dear to my heart, electronic and digital media are continuing to redefine the publishing avenues of museums, tapping into modern digital workflows and social media activities to develop new forms of content and significantly extend the reach of that content beyond the limits of traditional print.  Beyond making these electronic platforms available to anyone, the report identifies the next phase of electronic publishing as linking these platforms together to produce new types of content.
  • Location-based services: Enabled by WiFi access points, GPS, RFID tags, and crowdsourced positioning technologies, location-based services are now available to deliver up-to-the-moment information that is related to a particular spot — guiding visitors through spaces, directing them to exhibits and objects that match their preferences, and triggering information and content specific to the visitor’s exact location in the museum.
  • Natural user interfaces: While we are already familiar with technologies and devices that respond to the natural movements of gestures of the human body (taps, swipes, arm motions, and natural language), there are prototype technologies being developed that extend these capabilities and combine facial expression and gesture-sensing technology with voice recognition that could allow museum visitors to interact in an increasingly natural fashion.
  • Preservation and conservation technologies: While museums have always addressed issues of preserving and conserving cultural heritage, these practices are being challenged by questions around how to preserve and conserve via digital materials as well as working with digital and time-based media — requiring new approaches and new skills that bring in electronic and multi-disciplinary perspectives to digital preservation efforts.

I was fortunate to be part of the 44-member Advisory Board and the process that helped identify these technology trends currently affecting the practice of museum education, interpretation, and visitor experience, and I look forward to the next annual report in this NMC series.

TrendsWatch 2014

TrendsWatchCenter for the Future of Museum’s annual forecasting report, TrendsWatch 2014, summarizes six emerging trends identified through CFM’s research and the Dispatches from the Future of Museums, CFM’s free e-newsletter. The report explores how each trend is playing out in the world, investigates what this means for society and for museums, shares examples of how museums are engaging with this trend, and suggests how museums might respond.  Here are the six trends/topics that this report identifies:

  • “For Profit for Good: The rise of the social entrepreneurs”
  • “Synesthesia: Multisensory experiences for a multisensory world”
  • “A Geyser of Information: Tapping the big data oil boom”
  • “Privacy in a Watchful World: What have you got to hide?”
  • “What’s Mine Is Yours: The economy of collaborative consumption”
  • “Robots! Are Rosie, Volton, Bender and their kin finally coming into their own?”

The report’s author, Elizabeth Merritt, writes in her introduction:

“As you read about these six trends, think about how they will shape the world, what it would be like to live in the world they may create, and how you and your organization might respond…. Personally I think the most important and challenging question question is raised in ‘For Profit for Good’: How big an impact do museums want to have on the world, and how can we ensure that the good we do is good enough?”

A great read, and certainly a report to look forward to each year from CFM.  And speaking of CFM, here are a few more resources and future thinking items from their realm.

Building the Future of Education: Museums and the Learning Ecosystem

BuildingFutureComing out of a convening organized in September 2013 by the American Alliance of Museums (AAMC) and The Henry Ford, the “Building the Future of Education: Museums and the Learning Ecosystem” report includes essays by educators, students, researchers and reformers that summarize and explore how leaders from the worlds of education and museums can work together to integrate the nation’s assets into what they call a ‘Vibrant Learning Grid.’  The convening and report asks the big question: How can museums and schools collaborate to create a new future for education?

The report pulls together leading thinkers and related case studies that focus on this and other core, burning questions, addressing a range of issues that include:

  • investing in greater capacities to support and manage partnerships
  • strengthening family engagement and envisioning parents as co-learners
  • building open learning networks across community institutions
  • leveraging digital learning and collaborative technologies

The report ends with a powerful “Call to Action” that came out of the second day of the convening, with some practical suggestions for moving the conversation forward and enacting change. They share several ideas, including increasing awareness, sharing information, disrupting conventional thinking about the educational landscape, and implementing radical experiments that increase the role of museums in an expanded view of education.

Guide to the Future at the 2014 Annual Meeting

CFMFor those of you heading to Seattle this weekend for the 2014 Annual Meeting of the American Alliance of Museums (AAM), there are lots of great sessions, panels, and events to attend that bring together leading thinkers to discuss the future of museums as well as existing trends.  The CFM’s Elizabeth Merritt shared her insights recently via the CFM blog, and I encourage you to take a look (even if, like me, you are not attending the AAM conference this year).  You’ll find sessions discussing almost all of the reports I list above.  If I were attending AAM this year, one of my top picks would be “Crowdsourcing to Community Sourcing: Engaging Visitor Input” with Jeff Inscho, Lori Phillips, Daniel Davis, and Petra Pankow.

Share Your Thoughts

What are some of your ideas about the future of museums, and the ‘next’ practices that will help museums thrive?  And what are your thoughts about these types of reports and publications that spotlight ‘innovation’ and ‘future thinking’ — are they limited in their scope, or helpful as we all reflect on our own practice?  What sources do you look toward when thinking about new ideas, experiments, and projects?