Never Work Half Heartedly

When I started in my new position I had had great hopes for getting back into blogging more regularly.

Rather predictably, I have not been blogging more regularly. I have managed to do a few other things, but blogging has not been one of them. That said, there have been a couple of blog-worthy things to come up.

New Job, New City, New Department

All the new things! It’s a really exciting time at the Albright-Knox, and I am having a blast getting to know the collection, the institution, new colleagues, and a new city. My first week here one of my favorite contemporary artists came to give a talk, which was fantastic.

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And so far, since coming to the A-K, we’ve had several exhibitions open and close,

hosted Art Alive, a giant event in which dozens of groups create tableau vivant of works of art,

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Art Alive entry recreating Amanda Browder’s Rapunzel

and danced the night away at the annual summer fundraiser.

I’ve been getting to know the docents and have been heading out to the galleries to practice:

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And I’ve been able to put all my media development skillz straight to work, interviewing artists that have come to the A-K for exhibitions, projects, and talks.

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From an interview with Amanda Browder

We’re building a new team in the education department (complete with new job openings), and building out new programs and working on our plans for building new audiences (including trying some completely new programs).

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While it has been a pretty packed few months for me personally, it is also a hugely exciting time for the institution itself: the selection of an architect to design the A-K of the (near) future was announced.

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Shohei Shigematsu of OMA at the A-K

AAM and Interpretive Planners

In the meantime, I had the great pleasure of working again with two amazing women– Julia Forbes from the High Museum of Art and Emily Fry from Peabody Essex Museum– on annual the Interpretive Planners’ pre-conference. It’s such a fantastic group of people, and always an inspiration to see everyone.

I also got to be on a panel at AAM with fantastic folks from Detroit Institute of Art (the incomparable Swarupa Anila and Alison Jean) and the Art Gallery of Ontario (the awesome Keri Ryan).

Sadly, I was only able to stay for one day of the conference, but I did get to see some interesting talks and got to see the amazing Sara Devine collect awards for the Brooklyn Museum’s Ask app (go Sara!). I did also get the chance to run through the Renwick exhibition of so much (justifiable) instagram fame. AND I managed to get folks out for karaoke in Chinablock– including my much-missed former crew from VMFA.

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YEAH

#MCN2016– New Orleans here we come!

Meanwhile, I’ve been having a ball working on the upcoming MCN conference. I get to work with amazing co-chairs, Suse Cairns and Trish Oxford, along with all of the fantastic folks on the program committee and so many others who put so much into making the conference a reality.

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Conference schedule planning: ALL THE POST IT NOTES

We’re really excited about the program and the really incredible submissions that came in (a record number!). I’m also very excited about everything going on with the SIGs this year, and (of course) with the Educational and Interpretive Media SIG (which means I get to spend even more time with Emily Fry!). Can’t wait for New Orleans!

Lots more in the mix, and more things on the horizon. Now, I really am planning on getting some more blogging done.

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Sage advice from the Cornell Art and Architecture school on a recent trip to my alma mater

Do We Make “Content”?

Last month I went to Dallas (my first time in the Big D, at least out of the airport) for the annual MCN conference.

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It’s one of my favorite conferences, and is one that I always feel like I walk away with ideas and inspiration and thinking about lots of big questions– it’s the one where I spend the plane ride home thinking that I’m going to get home and Do All The Things! Make All The Things! Make Very Very Good Things! And then I get home and my inbox is full and there are voicemails and deadlines and maybe even a fire to put out, and I think, I will do All The Things a little later.*

This year I presented in the case study group, which was really enjoyable– there were some great conversations about what makes a trusted museum brand. I was also on a panel that was organized by Robert Weisberg from the Met (who compared his institution first to pre-revolutionary France, and then to a space ark) that was downright fun. (You can read his thoughts on this year’s MCN here). Corey Pressman gave an inspiring (and often hilarious) talk about orality’s shift into the authority of print, and the potential for opening authority as we move into a time of secondary orality. Kimon Keramidas talked about his (supercool) projects with students at the Digital Media Lab at the Bard Graduate Center. (The audio from the panel is here).

The panel touched on a lot of things that I spend a lot (I mean a lot) of time thinking about. Much of what I do professionally is “content development.” If someone had said to me when I was tied to a carrel in the library in grad school that I would grow up to develop content I would have looked at you like you’d told me I was going to find myself living out my middle years on Mars. Content development? What does that even mean?

I don’t really recall hearing the word “content” (the way it is used now) in grad school. I might have, but if I did it didn’t make an impression. It’s a word I hear all the time now, both in my professional life and outside of it, but it is a term that I find hard to pin down. What does it even mean?

The seeming ubiquity of the word doesn’t, for me, negate it’s inherent slipperiness. What does it actually point to? First and foremost, it points to its holder (“content,” after all, says up front that it is contained, which means there must be a container) while not pointing at all to its own identity. It’s stuff that goes in the thing– it’s only identifying feature being that it is held in something else. It seems to function as a placeholder for whatever we happen to be talking about at that moment. Labels, videos, software, tours, public programs, whatever. We seem to have tacitly agreed to use this catch-all word to catch all we do– and it the process it’s lost whatever meaning it might have, at some point, had.

And then we use it with visitors.

Ug. The internal/external meanings of museums’ weird nomenclature are rarely aligned. In my experience museums have extensive taxonomies so esoteric that only a select few have been initiated into the highest levels of knowledge. For visitors, much of it is just wordswordswordsthatIdon’tknow.

And who actually wants to make “content”? Content sounds like vitamins: something you don’t enjoy ingesting but do it because you’re supposed to. Who wants to listen to, watch, see, read, or make that? Content is a word that sounds desiccated. And it’s so overused that at times I think it no longer has a referent.

When I think about what we are actually doing, when I think about what I actually love finding out about and listening to, and watching, and learning about when I go to a museum (and I go to a lot of them– and not just the one where I work), it’s stories. Because we’re humans, and humans are hardwired to hear, tell, and process narratives (literally). It is how we make sense of the world; but it is also a critical way in which we derive joy from it as well. We don’t want to hear “content”; we want to hear a good yarn.

This may seem like just semantics, and it is semantics, but it isn’t only semantics. Externally, is it realistic to expect our visitors to get excited about something we call “content”? Internally, does approaching the work through the framework of “content development” have an impact on what we produce? [I would say that it does, and not for the better].

That said, I don’t have a solution for a better word. Ideas, stories, narratives, something else…. I don’t know, but would love to hear suggestions.

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Meanwhile, I heard some fantastic panels and discussions at MCN, including a super fun panel on games with Emily Lytle-Painter of LACMA and James Collins of the Smithsonian that really had me thinking (again) about games (again) and museums (again). Our little department has several people who are gamers themselves (analog and digital) and the idea of bringing games into what we do at the museum comes up somewhat regularly. The session had lots of great advice, but was done through actually trying different things out– which is a great way to make the message stick.

I also really enjoyed a panel on museums and social media, and have been thinking ever since I left Dallas about Alli Burness‘s question: What do selfies mean?

And of course I visited the Dallas Art Museum:

Went to a honky tonk:

And had epic karaoke:

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Before heading home:

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*And over the course of the next year I usually get to Some Of The Things, which probably isn’t half bad.