Page 291 - AC/E's Digital Culture Annual Report 2015
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AC/E Digital Culture Annual Report 2015291together with the number of votes and some of the comments generated in the web environ- ment. The museum added an introductory text and technical information.With this initiative the museum’s experts found out more about their Internet community, involving it and establishing links and rapport. The exhibition remained open until 4 January 2015 with a specific microsite.In the summer of 2010 the Walker Art Center in Minneapolis, invited its community to view the 183 images of the collection of works on paper in the digital gallery. A web survey was held in which users decided if the proposed works should be part of the exhibition entitled 50/50: Audience and Experts Curate the Paper Collection.195 The chief curator Darsie Alexander brought an expert touch to the exhibition with her selection.In the end the show, which ran from December 2010 to July 2011, featured 200 works, and was an experiment that established links with the community and made it possible to explore the collection of works on paper under novel parameters.One of the aims of the project was to reflect on this initiative. The idea was to consider what kind of dynamics are at play in relations between public and experts, and between curatorial practice and collective taste.The Gibbes Museum in Charleston, South Carolina, staged the exhibition People’s Choice: A Community Curated Exhibition196 from 3 May to 15 September 2013. The aim was to involvemembers of the community by inviting them to vote on the proposed works via the museum’s website. Users answered a number of questions such as: why is art important in your life? What is your first memory of art? Why are museums important to you? The answers to these ques- tions allowed the institution to learn more about its audience and to disseminate its holdings in an original manner.The public voted during March 2013. Partici- pants could choose their favourite works from a virtual gallery of 140 pieces from the permanent collection, including paintings, sculptures and photographs. They were also invited to share a few words on the chosen pieces.The museum put together an exhibition featur- ing the most voted for works, which remained open until 3 September that year.In Spain, the Museo del Traje (Costume muse- um) launched an appeal for the crowdcurating of #YoExpongoMT197 in 2014. The aim was to involve the museum’s virtual community in the exhibition España de moda (Spain in fashion) organised as part of the initiatives to mark the museum’s tenth anniversary.This project was carried out in collaboration with the museum’s curator Juan Gutiérrez through the social media. The museum asked users about outfits to be shown in the exhibi- tion. For each thematic section – there were a total of six – people had to choose between three outfits. The winner was the one with the most votes. This was done by counting the numberof “likes” on Facebook, and favourites and “retweets” on Twitter. It was a dynamic means5. Crowdfunding, crowdsourcing and crowdcurating