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robertogreco : robertsain   8

What Can We Learn from Artists’ Projects in Museums? | The Getty Iris
"More and more museums are inviting artists to go beyond hanging their art on their walls to create engaging visitor experiences inside the museum. At a panel discussion earlier this week [http://www.getty.edu/museum/programs/lectures/artists_in_museums_panel.html ], we invited curators, educators, and artists to talk about three pioneering artist-museum collaborations in L.A.

Robert Sain, former director of LACMA Lab, and Christoph Korner, partner at GRAFT architects, discussed their work on the Lab’s Seeing exhibition; Asuka Hisa, director of education and public programs at the Santa Monica Museum of Art (SMMoA), and artist Olga Koumoundouros presented their collaborative Wall Works installation (detailed in a great interview on KCET’s Artbound [http://www.kcet.org/arts/artbound/counties/los-angeles/wall-works-santa-monica-museum-of-art.html ]); and Machine Project’s Mark Allen and Elizabeth Cline (formerly of the Hammer Museum) discussed Machine’s yearlong public engagement residency at the Hammer.

Though the projects spanned three very different institutions and well over a decade, several common themes emerged. For more from the event, see the live tweets on Storify. [http://storify.com/gettymuseum/do-we-need-artists-in-art-museums ]"
lacmalab  robertsain  museums  art  2012  christophkorner  asukahisa  olgakoumoundouros  wallworks  artbound  markallen  machineproject  elizabethcline  hammermuseum  publicengagement  getty  artists  glvo  engagement  education  confusion  documentation  disruption  lcprocect  openstudioproject  lcproject 
june 2013 by robertogreco
LACMALab 2002, MAKING: A Collaborative Reinvention of the Family Museum Dynamic [.pdf]
Robert Sain, Director, LACMALab, Los Angeles County Museum of Art
Frederick Fisher, Architect, Frederick Fisher and Partners Architects
robertsain  2002  lacmalab  art  frederickfisher  museums  families  children  engagement  publicengagement  openstudioproject  lcproject 
june 2013 by robertogreco
Symposium (Education at the Getty)
"This symposium was inspired by the renovation of the Getty Museum's own interactive space for family audiences. Museums often approach such spaces with diverse goals, objectives, methods, and processes; and meet with varied outcomes and measures of success.

The symposium brought together professionals whose work focuses on or informs interactive spaces designed for family audiences in art and history museums. Participants addressed the ways that these spaces can best respond to the needs, learning styles, and experiences that family audiences bring to their museum visits; as well as the merits and challenges posed by different design approaches."
education  museums  2005  getty  design  children  families  peggyfogelman  jeansousa  andrewalvarez  kathrynblake  marciamacrae  juliaforbes  kathrynhill  mariannaadams  annehenderson  melissacerto-hayes  cynthiamoreno  robertsain  lisabuck  johnfrane  hadrianpredock  frederickfisher  peterexley  sharonexley  sherryhoffman  todderlandson  gailringel  susanhopperfeld  rebeccaedwards  susiewise  sheilavyas  pattersonwilliams  jessicaluke  openstudioproject  lcproject 
june 2013 by robertogreco
Q&A: Robert Sain has a compelling vision for the Centre for the Living Arts | al.com
"Community engagement is his “obsession,” according to SAIN, who says the environment in which that happens has undergone a dramatic evolution. Institutions have changed; so have their patrons, who appreciate having the “institutional permission” to express what they think.

It was not always so. In the past, museums and other arts entities operated on the basic premise: Art is good for you. We will tell you what to think, when to think, how to act. These days, the arts should be about empowering the individual, he says.

“It’s the absolute opposite of the voice of authority,” he says. “Rather than being a place that provides the answers, it’s being a place that asks the questions.” Then something totally different happens with the organization and the audience. Perhaps there is no right answer, no one answer, especially as the world becomes increasingly complex. You have multiple perspectives and points of view.

“A cultural organization can be at least one of the places in a community in our culture today where it is safe to come together to disagree. To hear different perspectives, takes, points of view. The creative act and process for me allows that to happen in a way that can get people to hear one another and provide insights and perspective.”

It’s about a generational difference in what’s happening in the arts world, according to Sain .

“One thing I see is all conventional boundaries between and among genres — this is clearly painting, this is sculpture, this is video, this is photography, this is performance, this is music — those boundaries just evaporate,” he says. “They’re all blurring. They are more synergistic, holistic.”



My obsession is community engagement, not just with art but through art. I would like to see this place being a popcorn machine of cultural activity, where there’s something always happening, always going on for everybody, every age, all generations, all communities, that is real and has actual impact on the quality of life. What the center can do is engage the community in a sort of investigation of popular culture . . . and issues of the day through the visual and performing arts.



Part of how you do community engagement is through collaboration, building alliances, partnerships with other cultural organizations, and with social, healthcare, school system and civic. To me that’s the richness of what can happen. Because of the scale of Mobile, it’s small enough to do it and big enough to matter.



Rather than positioning (the arts) in the conventional paradigm of competing with healthcare, social services and education (and) public safety, . . . my sense is to take the cultural organization out of that hierarchical ladder and put it over here and say: ”Let us show you how, through the creativity of living artists and for the living people in this community, we can be a resource and an asset to every one of those concerns.”

Which is just a very different approach, a different mind-set. It’s about doing things that matter. This is not about art on a pedestal; it’s not about artists on a pedestal, either, as much as I have unshakable faith in artists. Whether it’s someone who wants to give fifty bucks or major philanthropist considering five million, they want to know “What is this investment gonna do? What is the impact? Why does it matter?” For me, this is a way to demonstrate why culture matters and why creativity matters, and to find ways people can experience and see that kind of impact."

[Related: http://blog.al.com/entertainment-press-register/2011/01/robert_sain_centre_living_arts.html ]
museums  art  robertsain  2011  centerforthelivingarts  socialpracticeart  engagement  community  interdisciplinary  multidisciplinary  crossdisciplinary  communityengagement  openstudioproject  lcproject 
june 2013 by robertogreco
Centre for the Living Arts
[Now renamed as Alabama Contemporary Art Center: http://www.alabamacontemporary.com/

"Founded in 1999, Alabama Contemporary Art Center is a non-profit contemporary arts center located on Cathedral Square in the heart of Mobile’s historic downtown district. Formerly Centre for the Living Arts, Alabama Contemporary is ready to move forward with a clean and simple new graphic idendity, as well as a name that better reflects our position as the state’s premiere showcase for significant art of our time. Our mission, however, remains the same.

At Alabama Contemporary, we are focused on a quest to reinvent what a contemporary arts organization can be for our time. We aim to be a pivotal force in contemporary art for the Southeast by marshaling global talent to engage all sectors of the Mobile community in ideas that matter. Alabama Contemporary investigates themes and topics of particular relevance to the Gulf Coast, functions as a public forum, convener, and cultural broker, forming strategic alliances with other cultural, social, educational and civic institutions. The goal of Alabama Contemporary is to apply creativity and innovation to the pressing needs of the day while creating a national model for constructive community building through the arts."]

"The CLA is focused on a quest to reinvent what a contemporary arts organization can be for our time. We aim to be a pivotal force in contemporary art for the Southeast by marshaling global talent to engage all sectors of the Mobile community in ideas that matter. The CLA investigates themes and topics of particular relevance to the Gulf Coast, functions as a public forum, convener, and cultural broker, forming strategic alliances with other cultural, social, educational and civic institutions. The goal of the CLA is to apply creativity and innovation to the pressing needs of the day while creating a national model for constructive community building through the arts."

History:

"The first CLA exhibitions were installed in the window boxes of the Saenger Theatre as part of the “Art Off Centre” series, which ran from 2001 through 2004. In 2003, the Press-Register, Mobile’s daily newspaper, donated its downtown office space to the CLA. Concurrent with the $6 million campaign to renovate the Saenger, the CLA raised an additional $6.2 million to convert the former Press-Register building into Space 301, an art center that includes a 16,000 SF gallery, a studio space for educational classes and programs, and a 180-seat, 2,300 SF terrace used for film screenings, community events, and second stage performances. Space 301 opened to the public in 2003.

In 2011, under the leadership of new Executive Director Robert L. Sain, the CLA launched its new quest of community engagement through the arts. The first two annual cultural initiatives under the CLA’s new vision of unprecedented community engagement are The Memory Project (April—December 2012) and Futures Project (May—December 2014)."
robertsain  alabama  mobile  art  museums  gulfcoast  openstudioproject  glvo  creativty  innovation  culture  lcproject 
june 2013 by robertogreco
MADE IN CALIFORNIA - NOW - exhibiton tour & interview with Robert Sain
"netropolitan.org interview and exhibition tour with Robert Sain, Director of LACMALab Interview by Lyn Kienholz, copyright 2001, California Int'l Arts Foundation / netropolitan.org

MADE IN CALIFORNIA NOW - The Los Angeles County Museum of Art , LACMA West

Made in California: NOW is the inaugural exhibition of LACMALab. NOW was produced by Robert L. Sain, director of LACMALab, and Kelly Carney, LACMALab program coordinator, in collaboration with Lynn Zelevansky, curator of modern and contemporary art.

[filmed on May 9, 2001]

Introduction with Robert Sain

Part 1 : Jim Isermann
Part 2 : exhibition entrance; Jennifer Steinkemp & Jimmy Johnson
Part 3 : Eleanor Antin; Erika Rothenberg
Part 4 : Michael Asher (1943-2012)
Part 5 : Allan Kaprow & Bram Crane-Kaprow
Part 6 : Art Studio
Part 7 : Victor Estrada; Diane Hall
Part 8 : Martin Kersels; Jacob Hashimoto
Part 9 : Dave Muller; John Outterbridge"
lacma  madeincalifornianow  california  robertsain  jimisermann  jennifersteinkemp  jimmyjohnson  elanorantin  erikarothenberg  michaelasher  allankaprow  bramcrane-kaprow  artstudio  openstudioproject  victorestrada  dianehall  martinkersels  jacobhashimoto  davemuller  johnoutterbridge  2001  lacmalab  lcproject 
june 2013 by robertogreco
What #isamuseum | Sam Durant
"Is a museum a school?
Is a museum political?
Is a museum truthful?
Is a museum fun?
Is a museum for everyone?

Sam Durant, the 2013 Getty Artists Program invitee, is a multimedia artist whose work explores the relationships between politics and culture. His socially engaged practice addresses subjects as diverse as the civil rights movement, Southern rock music, and modernism.

For his project, What #isamuseum?, Durant continues to investigate these ideas by engaging Museum visitors and staff in an exploration of the roles and functions of a museum. Through a call-and-response format, visitors discover a series of artist-designed questions placed in unexpected locations throughout the Getty Center. With these questions, Durant invites reflections on and responses to the expectations and preconceptions of what a museum is. Individual responses can be shared on www.isamuseum.org, and visitors can input their answers at an iPad hub site located in the Museum Entrance Hall. Social-media outlets, such as Twitter, Facebook, and the Getty Voices project, also serve as channels to discuss the questions and broaden the discourse.

According to Durant, "By expanding the conversation and encouraging different forms of response, participants can become active within the project and even change the debate around the initial issue.”"

[See also (tags here are for that too): https://www.youtube.com/watch?v=kQoEP3pPPjg ]
[Via: http://nomadicity.tumblr.com/post/52793583244/http-isamuseum-org-what-isamuseum-hes-asked ]

[Mentioned in the video: Caroline Woolard's Exchange Cafe at MoMA http://www.moma.org/visit/calendar/exhibitions/1364

here too
http://www.kcet.org/arts/artbound/counties/los-angeles/sam-durant-social-media-getty-what-isamuseum.html ]
museums  samdurant  art  politics  culture  education  #isamuseum  getty  purpose  2013  googleartproject  pablohelguera  robertsain  lacmalab  sandiego  google  ncm  gettyartistsprogram  tobytannenbaum  jessicacusick  moma  centerforlivingarts  glvo  cv  why  learning  artists  chrisburden  engagement  community  children  children'smuseums  public  exchangecafe  institutions  openstudioproject  lcproject  participation  cocreation  collaboration  participatory  metrics  outcomes  success  civics  schools  future  candychang  civicengagement  law  legal  carolinewoolard  cafes  ncmideas  participatoryart 
june 2013 by robertogreco

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