#MW17-TJ -DAngelo presentation

#MW17-TJ -DAngelo presentation

• 1.
  MUSEUMS WITHOUT WALLS: BreakingAcross the Borders of Organizational Structure & Preparing the Next Generation of Museum Professional in the Digital Age You can: Tweet about this session using this: #MW17-TJ & @Museums WOWalls
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  Welcome to ourgallery of ideas. I am a muse, amusing, and always musing about art. Somewhat tangential musings will be HERE
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  Aerial view, The Cleveland Museumof Art, 11150 East Blvd, Cleveland, Ohio
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  After the March 24,1970 bombing by leftist political group, The Weatherman, Rodin’s last cast modeled “The Thinker” at The Cleveland Museum of Art
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  Auguste Rodin’s “THE Thinker”, 1880-1881 – The Cleveland Museum of Art
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  The Metropolitan Museum of Art– 1000 Fifth Ave, NY, NY 10028
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  In 2016, 6.8million visitors came to the met, 45 million visited online. 200,000 K-12 school groups came physically and thousands of others wanted to visit but could not. I said “no” to 70% of those that wanted guided educational tours, programming and better self-guided content.
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  McKim, Mead and White1907-1926 blueprint expansion wings for The Metropolitan Museum of Art – 1000 Fifth Ave, NY, NY 10028
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  MUSEUMS WITHOUT WALLS: SMARTHISTORYAND THE GOOGLE ART PROJECT— A MISSION POSSIBLE PROPHECY By Adrienne L. D’Angelo Dissertation for the Degree of Doctor of Education in Teachers College of Columbia University, May 17, 2017
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  Given the similaritiesand differences between physical art museums and digital resources such as the Google Art Project and Smarthistory, what and how do professionals in the fields of art history and art museums who have traditionally managed curatorial, educational, and collecting practices in a physical museum think about the educational potential and problems that digital art resources present? What are the implications of their thoughts for the fields of art and museum education as these intersect with new technologies? Digital technology and the use of the Internet exploded in the past two decades. Mobile phones makes it possible for a majority of the population to have access to the Internet; and thus, to information.
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  Type of study: QualitativeInterpretive Study Talk to those in charge! Museums for the most part operate from a hierarchal model.
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  Methods: Interviews, portraiture, andobservation Find out what they think and how they feel about releasing and sharing images and content. Informed consent was granted unanimously, thus, institutional affiliation could be discussed. Portraits connect and observation relays information about physical space.
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  Data collection: When: June-October2015 Who: 16 participants, 14 interviews (Museum Directors, Curators, Educators, Digital Technology Officers, Academic Art Historians, Founders/Leads of Smarthistory and The Goolgle Art Project) Where: Mostly in-person in the United States and London or via Google Hangout/Skype, Observations in Paris at The Google Cultural Institute Lab Interviewing is part verbal and mostly non-verbal communication, face to face is best.
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  Google offices, 8 rue de Londres, Paris, France 75009
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  Google offices Paris, France Interior courtyard
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  THE MOST INTERESTING THINGABOUT THE STUDY, WAS THE ACT OF LISTENING… Choosing the Methodology of Interpretive study seemed most appropriate. Methods of interviews, portraits and observation reflect the professional actions of those whose purview it is to set policy on how visitors get access to experiences with works of art.
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  Study Findings: 1. Access:across distance, across time, cultural, economic, knowledge, social 2. Authenticity: object history, space, syphoned knowledge 3. Educational criteria: generational divide, lack of digital knowledge, means of knowledge including digital media, print material and video projection 4. Evaluation: audience evaluative tools, credibility, question of professional expertise 5. Experience: experiential value, sensory reactions 6. Modes of collaboration 7. Pedagogical Findings of the study pointed to 7 overarching themes. This coded data set the framework for the analysis of the interviews and educational implications.
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  Implications: Collaboration and jobpreparation of next generation museum professional What qualifications are necessary for the next generation museum professional?
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  ART IN THEAGE OF MECHANICAL REPRODUCTION MAKES IT POSSIBLE TO SHARE ART WITH EVERYONE Reproduction of images is common place across the internet today. The voice of authority and opportunities for educational content are limited and standards of practice are still being explored across the Internet. Why are these being held in physical space and not afforded to the vastly larger online audience in art museums?
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  OPEN SOURCE & CREATIVECOMMONS THE IMPORTANCE OF SCALE… Scale is a philosophical question that refer to BOTH physical engagement and digital experiences with objects and works of art. Digital visitors exponentially are greater than physical, so a focus has to shift towards increasing access to content knowledge.
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  Digital technology affordsthe opportunity to create a museum of all museums without walls in a space that is free and open to all. It will make the prophecy of museum mission a universal commitment to education. Developing the capabilities of digital technology to offer content comprehensively, uniquely and openly. In this way we will meet the demand and desire of audiences that are flocking by the millions to art museum websites, in exponential numbers, and using digital resources like Smarthistory and The Google Art Project.
• 22.
  HOW DO ARTMUSEUM AUDIENCES WANT TO EXPERIENCE AND ENGAGE WITH WORKS OF ART? HINT: ONE WAY ISN’T THE ANSWER. Visitors to art museums and students of art history, want to learn and engage in multi-modal ways through various tools. Learning can be fun and interactive. So embrace web 2.0 models…include your audience.
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  Organizational structure: Academia >Museums > Audience How do we merge traditional roles and operating models in museums with digital technology strategy? Do we hire and continue to work siloed?
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  EVALUATION: What if therewas cross-institutional collaboration beyond participation in digital aggregators? What harm would there be if scholarly differences were shared, aggregated and the public allowed to make their own interpretations? “The explanation of how something is known from a collection and analysis of facts will help you Web and museum audiences to edit their own content and bolster expert thinking. ~Deborah Howes, 2007
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  What next? The futuremuseum goers thrive in across different worlds; physical, digital and very soon…virtual. How are museum professionals prepared to meet that growing audience? The future is unknown but the opportunity to impact it through open-sources , creative commons, collaborative environments and access to education is available now and we must as educators and stakeholders foster that potential.