The Association for Public Art (then known as the Fairmount Park Art Association) built on the success of its Museum Without Walls cell phone tour and leveraged the power of social media and smart phone technology to engage audiences in an online dialogue about Philadelphia’s vast public art collection. Whereas the Museum Without Walls project tells stories of significant artworks using pre-recorded messages that are accessible via cell phone, this new project has encouraged viewers to share in the dialogue by posting their own stories and impressions via social media platforms such as Twitter and Facebook. The Association for Public Art (aPA) worked with social media consultants to determine this strategy and develop a sustainable system that is responsive to rapidly moving advances in technology and digital media. aPA staff also created a new position of new media manager to oversee its new online initiatives, which have included a “flashlight mob” and Foursquare check-ins for public sculpture. The aPA hopes that this endeavor will result in greater interaction with both tourists and residents, enhancing their experience of the city’s historical and cultural assets.1
Karen Getz is a dancer, choreographer, and theater artist with comic flair.
Wyck will evaluate its current programming in advance of writing a new business plan that results in audience-centered programs with the potential to attract new visitors.
Carol Shloss is a nonfiction writer and a 1994 Pew Fellow.
In the first segment of a three-part conversation between Center Visiting Artist Ain Gordon and Center Executive Director Paula Marincola, they discuss Gordon’s role as a conduit between the Center and its grantees.
A Los Angeles-based dancer and choreographer, Dally is the artistic director of the Jazz Tap Ensemble, which she co-founded in 1979.
In the second segment of our three-part conversation with Center Visiting Artist Ain Gordon, he discusses his work throughout his residency period, including his role in the Center’s Push Me, Pull You project.
The Philadelphia Inquirer featured the Conservation Center for Art and Historic Artifacts’ fundraising campaign for its Pennsylvania’s Top 10 Endangered Artifacts project.
Yancey considers whether arts organizations be expected to approach their businesses with the same degree of courage and creativity that they expect of presenting artists.
Pig Iron Theatre Company launched the School for Advanced Performance Training: a two-year certificate program for actors and directors.
AUX Curatorial Fellow Jamillah James has organized an evening of performances by Colin Self and M. Lamar.
Vox Populi and AUX Performance Space will host Ann Hirsch and Jacolby Satterwhite in conversation, organized by AUX Curatorial Fellow Jamillah James.
Conductor Gil Rose’s dynamic performances and many recordings have garnered international critical praise. In 2012, he assumed the position of artistic director of Monadnock Music.