According to research by the Mellon Foundation, museums within the Association of Are Museum Directors (AAMD) are 72% White Non Hispanic and 28% Minority with 84% of museum curators, conservators, and educators identified as White Non Hispanic. In a recent study by the Arts Council England, an “overwhelming number of organizations throughout the country are headed by white people.”
In this lecture, Drew, who currently serves as The Metropolitan Museum of Art’s Social Media Manager will discuss her work on her tumblr blog Black Contemporary Art, her work at The Met, her work as part of the Black Art Incubator, and her work as an advocate for artists and cultural producers of color in New York City’s art community online. In addition to highlighting her own work, the lecture will highlight strategies for visibility that have been employed since the 1980s.
With a keen interest on the power of collectives, time management, wellness, and work-life balance, this presentation will serve as a how-to for being an agent of change within the art world.
With over 2,000,000 Chinese tourists who visited France in 2015, China is France’s second tourist market after the United States. The same year the number of visitors of the Louvre coming from China grew by 73%. In January 2016, with these figures in mind and the Fondation Louis Vuitton’s programming entirely dedicated to Chinese contemporary art and culture we launched our We Chat, Weibo and Douban accounts, as well as the Chinese version of FLV’s app.
With 800 million active users, an average engagement rate much higher than Facebook, Twitter and Instagram, and an integrated technology allowing for messaging, blogging, gaming and mobile payments, We Chat represents an incredible opportunity for western museums to attract and better communicate with the growing Chinese tourist flows.
However, for a Western institution, mastering the technical and legal aspects of activating a We Chat account only represents a collateral challenge, compared to successfully communicating with the young, dynamic, well-travelled and affluent Chinese museumgoers. Since simply translating the contents we produce for our Facebook, Twitter and Instagram feeds into Chinese has proven not to be a good strategy, some understanding of the Chinese cultural context and their way of using social media is imperative.
This presentation aims at reporting back on Fondation Louis Vuitton’s experience while adventuring in the realm of Chinese social media, what we learned from it and our strategy for the upcoming years.
In 2015, the MIT Media Lab began the largest website project in its 30+ year history. This required creating a basic digital asset management system (DAM). They needed a central repository for images and other collateral; they had closets and filing cabinets full of video cassettes and slides of decades of incredible Lab research, and wanted somewhere to put this content that was simple–and enjoyable–to use. As they explored features for a basic system, they unearthed many strategic reasons to create a more feature-rich and robust DAM system. They needed to give the Media Lab’s 25+ research groups, and hundreds of researchers and administrative staff, the ability to concurrently organize all this legacy media, and also wanted to create a foundation for additional media curation and presentation goals.
Their research into available solutions, both open-source and enterprise, didn’t produce options that they felt would work for them, so they decided to build a custom solution. As they’ve presented the completed first phase of the website project, including the first iteration of the DAM, there’s been a great deal of enthusiasm about the DAM’s open-source possibilities. The more they use the system, the more excited they are about its power and usefulness.
This presentation will discuss what MIT Media Lab learned while creating this DAM, and opportunities for other organizations and institutions to leverage what they’ve built.
Theatre has a strong history of using technology to support storytelling techniques. This presentation will look into the work that the National Theatre is doing with emerging technologies and artists to find the compelling new ways of engaging audiences, telling stories and enhancing the practice of theatre-making. From 360 films, virtual reality and motion capture we look at what we have already found and what these ‘keywords’ really mean for the potential of dramatic narratives.