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This session will explore the lessons learned in creating an interactive for Shapeshifting at the Peabody Essex Museum. The exhibition included four organizing themes, Changing, Knowing, Locating, and Voicing, that address touchstones in Native art over time: artistic evolution, worldview, identity, and politics. The show's goal was to encourage visitors to rethink their preconceived notions about Native American art and to share their thoughts with the museum and other visitors. The interactive engaged visitors by asking them to contribute dialogue at iPad stations adjacent to four works in the exhibition. Visitors watched videos of the artists and then answered a question related to each object, with words from their responses projected in the galleries on a large, dynamic word cloud, in a comments section on the iPads, in a summative plasma display at the end of the show, and on our website.
Citation preview
Jim Olson, Director of Integrated Media
Brian Jungen (born 1970), Dunne-Za Nation. Cetology, 2002. Plastic chairs.
Yup’ik artist. Mask representing walaunuk, early 1900s. Wood, feathers, and paint. National Museum of the American Indian, Smithsonian Institution, Washington, DC, 9/3432.
Nicholas Galanin (Tlingit/Aleut). Tsu Heidei Shugaxtutaan (We Will Again Open This Container of Wisdom That Has Been Left in Our Care), parts I and II, 2006. Digital video: 5 minute loop each, performances by David Elsewhere (part I) and Dan Littlefield (part II). Courtesy of the Artist.
• Premise
• Impetus
• Thematic approach
• Opening the Dialogue
• Changing: Expanding the Imagination
• Knowing: Expressing Worldview
• Locating: Exploring Identity and Place
• Voicing: Engaging the Individual
• Advancing the DialogueKent Monkman (Cree). Théâtre de Cristal, 2007. Plastic beads, simulated buffalo hide, and Super-8 film: Group of Seven Inches, 2005 (7:34 minutes).
• Artworks
• Design
• Interpretation
• New media
• Multi-directional
• Insights
• Close looking
• Support themes
• Accessibility
Changing
Knowing
Locating
Voicing
Pat Pruitt (Laguna Pueblo). CSST V2.0, 2011. Stainless steel. Courtesy of Leslie M. Beebe and Bruce Nussbaum
Kay WalkingStick (Cherokee). La Primavera, 2005. Oil and gold leaf on wood. Courtesy of June Kelly Gallery.
Roxanne Swentzell (Santa Clara Pueblo). Emergence of the Clowns, 1988. Ceramic and paint. Heard Museum, Phoenix, Arizona
Possibly Pokanoket Wampanoag artist. Ball-headed war club, ca. 1675. Maple, whelk, and quahog. Fruitlands Museum, Harvard, Massachusetts
Pat Pruitt in his workshop, Laguna Pueblo, New Mexico
Roxanne Swentzell at Tower Gallery, Santa Clara Pueblo, New Mexico
• Trigger and induce
• Draw from the personal
• Minimize cultural bias
• Produce interesting answers
Source: Simon, Nina, “Design Techniques for Developing Questions for Visitor Participation.” Museum 2.0. April 28, 2009.
CHANGING
What other influences can you see in Pruitt’s work?
KNOWING
What do you imagine these figures are seeing as they look out on this world for the first time?
LOCATING
Can you recall a place in your life that transformed you?
VOICING
Can you describe an object that voices a powerful story to you?
• Establishing protocol
• Making time
• Rating system•Criteria•Trash
160 users observed:
60% users only watched the video
32% watched the video, and left a comment or read other comments
•Demographic•Time spent•Looked at artwork•Headphones
• 3000 total responses• 1300 approved• 1700 trash
• 710 praise for show or cogent comment, but did not answer the question• 30 messages addressed to artist• 10 “I like pie” • 10 relating to other works in exhibition (+9 in
approved responses)• 990 junk
Changing 335Knowing 459 Locating 283Voicing 226
Rating breakdown, totals1: 634 2: 190 3: 2714: 1465: 62
Word Cloud | Before and After
• Word Cloud placement
• Summative experience
• Web component
• Advance testing of final questions
• Karen Kramer Russell, Curator of Native American Art
• Michelle Moon, Assistant Director of Adult Programs
• Jim Olson, Director of Integrated Media
Contact me: [email protected]