Is a “Virtual” Still “Real”? A Conversation About the International Museum of Women by Tisha Carper Long and Catherine King

Tisha Carper Long is an Exhibit he International Museum of Women to act as a “creative catalyst,” using art and Developer at the Oakland (IMOW) in San Francisco, California, creative new media content to spark engagement Museum of California’s Natural began its life in 1985 as the Women’s in global issues of women’s human rights. Sciences gallery renovation project. T Heritage Museum, and for its first two decades She may be contacted at [email protected]. offered and public programming Beginning with the launch of the 2006 in borrowed spaces in the San Francisco Imagining Ourselves: A Global Catherine King is Vice President, Bay Area and beyond. Ambitious plans to Generation of Women and continuing through Exhibitions and Programs, for the establish a physical presence at San Francisco’s Women, Power and Politics and the current International Museum of Women. She may be contacted at waterfront fell through in 2005 when project Economica: Women and the Global Economy, [email protected]. engineers discovered that the pier structure that the IMOW website today has garnered well over was to underlie the facility was in far worse two million unique visitors and a participant condition than had been believed. In the face base (exhibition registrants and content co- If you would like to comment of prohibitive costs to replace the pier, IMOW creators) of over ten thousand people from on this article or others in this cancelled the project and set aside time for a nearly every country in the world. IMOW issue, please log on to the NAME serious reconsideration of its mission, purpose, currently attracts over 600,000 unique visitors listserv at http://groups.yahoo. and future. from 200 countries to its multilingual online com/group/NAME-AAM/ exhibitions per year. The IMOW community, which by this time included an international exhibition advisory Catherine King, IMOW’s Vice President of committee and a Global Council of 25 women Exhibitions and Programs, has worked in the in international leadership positions, as well field of exhibitions, media development, and as a strong base of local (San Francisco) public programming for , libraries, supporters, reached a visionary and thoroughly and educational organizations, both physical modern decision: to allow the museum to grow and online, throughout the United States. as an almost entirely virtual, internet-based Tisha Carper Long, an Exhibit Developer at entity at http://www.imow.org/home/index. the Oakland Museum of California’s Natural The considerable energies of the institution and Sciences gallery and a former website developer its supporters then shifted to creating what may at UC Berkeley, interviewed Catherine in person be the largest online environment enjoyed by and—where else?—online, to learn more about any museum, found at www.imow.org. the history, the mechanics, and the community- building potential of this “virtual museum.” Today, IMOW calls itself a “museum without walls,” and uses its global web platform and TCL: Your first exhibition, Imagining Ourselves, social media to invite and disseminate diverse was entirely user-generated, without and dynamic content on key contemporary traditional curatorial input. Was there anyone issues for women worldwide. It organizes in the IMOW community who said, “Wait a online exhibitions and temporary minute! No edifice; no : are we still a physical installations, hosts public programs, museum? ” develops toolkits for educators, and orchestrates a speaker series world-class authors, CK: The question about identity came up thinkers, and political leaders. IMOW aims frequently, especially in the early days.

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EXHIBITIONIST SPRING '11 Imagining Ourselves challenged conventional ideals of beauty in the female form. Image taken from the International Museum of Women website http://www.imow.org/home/index.

While the vision for how IMOW can best fulfill the globe, who are too often unheard. Similarly, its mission has evolved over the years, the the museum’s subsequent online exhibitions institution has remained true to its founding Women, Power and Politics and Economica: principles as a museum. The Imagining Women and the Global Economy were curated Ourselves project forged a new global online by Masum Momaya and present a balance of presence but was still very much developed as a museum curated and contextualized content museum project. As the centerpiece, the virtual alongside the creative work of our global exhibition was complemented by a traveling community. exhibition, a full-color 240-page catalogue, educational outreach, and public programs Although not presented in a permanent hosted by community partners across the globe. building, these projects have been developed as exhibitions. Innovative? Yes. Virtual? Yes. In terms of curatorial input, project founder and Still a museum? Yes! Since IMOW’s initial director Paula Goldman and her international foray online, and as online journals, online team of exhibition assistants and global advisors universities, and online communities become Some might say solicited creative work—art, film, photography, more common, we are increasingly finding music, personal essays—from young women in new audiences, especially among the younger that your site their 20s and 30s responding to the question, generations, receptive to and energized by the is more akin “What defines your generation of women?” concept of an online museum. This international call for participation to an online went out to young women throughout the TCL: The International Council of Museums publication. world. The museum team carefully juried the (ICOM) defines a museum as “a non-profit, submissions and selected the strongest work for permanent institution in the service of society development—a process of engagement between and its development, open to the public, which and museum staff. The resulting body of acquires, conserves, researches, communicates content features powerful, first-person voices and exhibits the tangible and intangible and creative work of young women from around heritage of humanity and its environment 43

EXHIBITIONIST SPRING '11 The Imagining Ourselves exhibition curated artistic content about and by women from all over the world. Image taken from the International Museum of Women website http://www.imow.org/home/index.

(continued from page 43) for the purposes of education, study and media in a gallery; that is commonplace today. enjoyment.” Some might say that your site is Virtual exhibitions are also gaining traction more akin to an online publication. and are created by traditional physical museums and virtual museums alike. CK: Just as institutions and models change, the definition of museum has not been static— As a newer institution IMOW has had more it has evolved as the role of museums has freedom to develop its as a museum. evolved over the years. The ICOM definition Setting aside what IMOW does not do demonstrates significant and expansive change (collecting and conserving tangible objects in over time. Among other things, the criteria a permanent physical building), our structure shifts from “collections” (in 1946) to a much and the work that we embrace fits within the broader range of activities (in 2001) that scope of museum work. We are a non-profit include (viii) “cultural centers” and “intangible organization dedicated to curating the art and heritage resources (living heritage and digital ideas of women around the world on critical creative activity).” Museums are no longer only social issues. We amplify women’s voices by about gathering, preserving, and presenting undertaking research, seeking out the often objects behind glass. They are increasingly (and unheard stories and artistic contributions of progressively) contextual and human-centered women, curating exhibitions, presenting public and can encompass many things besides programs, providing educational resources and physical and permanent “collections.” engaging in other activities related to the work of museums and museology. Much has been written about the evolving role of education and the gradual shift in As an institution we are affiliated with importance of community to museums and numerous local, national and international these, too, are newer concepts. What is museum organizations. Although our vision of collected and how that work is presented has space has evolved from a local physical space changed as well. Not too long ago it would have to a primarily virtual and global space, the been unheard for a museum to exhibit digital core organizing values of the institution have remained the same. IMOW has created a new 44

EXHIBITIONIST SPRING '11 kind of museum space for women, a virtual a bridge into activism for audiences. As a one that allows us to reach around the world, museum, IMOW serves as a “creative catalyst,” achieve greater levels of communication, break using and self-expression as a portal down barriers, and connect audiences in ways for audience engagement in women’s human not possible before. rights issues. We were thrilled that our Imagining Ourselves exhibition received the TCL: Museums have broadened their scope a prestigious Anita Borg Social Impact Award for lot over the past few decades, but even today, innovative use of technology to have a positive some museum professionals consider it beyond impact on the lives of women and society the purview of a museum to take an activist (http://anitaborg.org/). stance on social issues. Do you think that your activism also pushes the definition of For people coming to the website, a museum “museum?” with a social change lens does not seem incongruous; they have an appetite for CK: I think it does and in many ways I see engagement and action. When we asked visitors IMOW’s development as part of the trajectory— in a recent survey what they want more of and in some cases at the forefront—of the from the museum (i.e., content, community, Although not broader changes in museum definition you’re actions), “taking action” was at the top of referring to. Excellence and Equity, AAM’s their list. Independent academic analysis of our presented in landmark 1992 report, marked a new focus on exhibitions and programs shows that well over a permanent the educational role of museums. The Museums 50% of our visitors think differently about key and Community initiative was launched in issues and take action as a result of engaging building, these 1998 to explore the potential for engagement with our content. I think that says a lot about projects have between museums and their communities. the power of museums to educate, inspire, After education and community, what is the connect, and transform communities on behalf been developed next evolution? In the last ten years, the words of social good. as exhibitions. “museum” and “social change” have been increasingly linked. Museum studies programs TCL: On your website, a mother talking Innovative? Yes. now offer courses in museums and social about IMOW’s Women, Power and Politics Virtual? Yes. Still a change. In 2008 the International Council of exhibition said, “The exhibition opens a Museums (ICOM) theme for International line of communication between me and my museum? Yes! Museum Day was “Museums as Agents of daughter…It is easier to begin the conversation Social Change and Development.” I think with the website because she can see the we will continue to see more links between power and the politics and art and how museums and social issues. women can express themselves.” Is it easier to reach a younger audience online than in In the company of great institutions across the a physical space? U.S. and abroad, IMOW is a leader in creating connections between museum work and social CK: That quotation speaks to the power of change. It seems natural for a museum that the Internet to allow people of all generations addresses women’s human rights to serve as to engage in and interact with important 45

EXHIBITIONIST SPRING '11 The museum’s new strategic plan outlines a commitment to organizing virtual exhibitions in multiple languages complemented by a “pop-up” physical museum presence in multiple global regions….

(continued from page 45) ssues in a very personal, intimate way. your active online community, which is hosted We have heard similar stories from other on your website. Congratulations! Can you talk Suggestions for mothers, grandmothers, and educators. An a little about your decision to create that in- Further Reading: American Association of advantage of online exhibitions is that they house social network? Museums. (2002). Mastering continue to reach new visitors and can be used civic engagement: A challenge by educators long after the initial presentation. CK: Thanks! It was an honor to be recognized to museums. Washington, For example, although we are no longer adding DC: American Association of by our museum colleagues. The MUSE jury Museums. new content to Women, Power and Politics, it especially noted our success in engaging a truly is now considered one of the most global community, and that’s what excites us Colton, E. L., and Offen, K. comprehensive online resources on women the most about building a virtual platform M. (2009). The International Museum of Women: A new space and global political participation. without geographic borders. for women/The International Museum of Women. Un Younger audiences are certainly a powerful We built our social network in response to nuova spazio per le donne. (Published in Italian.) DWF base for us; roughly one-third of our audience is our visitors. Audience impact evaluations in (donnawomanfemme) under 30, one-third is from 30 to 40, and one- 2006 and 2007 for the Imagining Ourselves 3-4, 83-84 third is over 40. One college student wrote, exhibition revealed that visitors saw the power

Goldman, P. (2007). Imagining of connecting with people who have similar ourselves: Cultural activism It's been amazing to not only read about interests in diverse parts of the world. They for women through technology women’s struggles but to then be able to also indicated a desire to interact with each and new media. Museum discuss them with our class, and work other and with the exhibition content in some international, gender perspectives on cultural heritage and museums out our questions about issues we come of the sophisticated ways that were emerging 236. across. I've never heard so many of on other social platforms. Instead of using an my fellow classmates really talk about off-the-shelf product or an existing network Hirzy, E. C. (Ed.) (2008). Excellence and equity: Education democracy, oppression, gender roles, like , in 2008 we built a “house social and the public dimension of etc., until we started exploring all the network” to further our goals of engagement museums. Washington, DC: articles in WPP. I also love how I can by creating an online community and American Association go to an “exhibition” while still sitting of Museums. integrating those social media tools within in our classroom. Having the museum the exhibition template. Offen, K. M., and Colton, E. online makes it a lot more accessible to L. (2007). The International me, especially since I don't have to pay an Today, IMOW’s community includes more Museum of Women. Museum international, gender perspectives entrance fee, can stay as long as I want than 10,000 registered participants from over on cultural heritage and museums and visit whenever I want. 200 countries. Community members can 236. create profiles, recommend and comment on

Offen, K. M., and Colton, We are continuing to experiment with ways to exhibition stories, join conversation threads, E. L. (2010). Developing the make our exhibitions accessible to educators share content with friends, and submit their International Museum of Women: and students through the creation of flexible own creative work for possible inclusion in Challenges and responses. education “toolkits,” online-curated museums Heritage and Museography 3. exhibitions. The community has been especially Barcelona. tours, and other methods of deepening our successful for our most engaged participants: visitors’ hands-on, facilitated engagement. women who want to submit their own work and add their voice and personal creativity to TCL: You won a MUSE Award in 2009 from the museum projects. AAM’s Media and Technology Committee for 46

EXHIBITIONIST SPRING '11 IMOW's current exhibition Economica highlights the role that women play in the global economy. Image taken from the International Museum of Women website http://www.imow.org/home/index.

TCL: But now you have Facebook and sites as well. What is the added value of these external social networking sites?

Our Facebook and Twitter presence allows the museum to extend out into the broader community. Our community can more easily engage with the museum, bring their own networks on board and ultimately grow the community.

Our social media mantra is that it is not all about us. We post information and seed conversations that our community is interested in. Practically, this means we feature an exhibition story or an artist profile and then we look outward to highlight current news, partner activity, or a new book or appearance by one of our Global Council members. We The Economica website features a slideshow about the economic contributions of women in India. Image taken from the International Museum of Women website http://www.imow.org/home/index. want our Facebook page to be a destination for people interested in issues important to women, not only a place to learn about our current exhibitions and projects. This deepens the museum’s engagement with our community and creates opportunities for meaningful two- way communication. 47

EXHIBITIONIST SPRING '11 Being a museum without a building is a new model that requires flexibility, responsiveness, reach, and innovation.

(continued from page 47) TCL: What plans does IMOW have for the museum-curated content, community voices, near future? increased opportunities to take action, and use Suggestions for of social media to engage broader audiences. Further Reading Continued: CK: For the upcoming Young Women Puntenney, D. (2006). Imagining ourselves: Engaging a global Speaking the Economy exhibition we are TCL: Do you think that IMOW may try again— audience for positive social working with young women from four diverse perhaps in another ten years—to build a change. Final Evaluation Report, countries to share their untold experiences physical facility? Year One, September. Unpublished but available by contacting at this critical moment for the worldwide Catherine King. economy. This deeply collaborative project CK: In the future I don’t picture IMOW as engages partner museums and universities in a single building located in one city with Puntenney, D. (2007). Imagining fixed hours and galleries. We intend to grow ourselves: Engaging a global the U.S., the Philippines, Denmark, and the audience for positive social Sudan. The educational phase of the project our audiences and to deepen our impact by change. Final Evaluation immerses the participants in the content of strengthening and creating new global touch Report, Year Two, September. IMOW’s Economica exhibition as the basis points, both virtual and physical and are Unpublished but available by contacting Catherine King. for intercultural dialogue. The end result will exploring ways to increase the connection include a dynamic online exhibition shaped between the two. The museum’s new strategic Puntenney, D. (2009). Women, by the creative work of the young women— plan outlines a commitment to organizing power and politics: Amplifying women’s voices, creating writing, art, film, or other art forms—as well virtual exhibitions in multiple languages dialogue and inspiring action. as culminating community programs in each complemented by a “pop-up” physical museum Final Evaluation Report, March. country. Funding for the project comes from presence in multiple global regions that may Unpublished but available by take the form of international speaker events contacting Catherine King. several competitive museum grant programs: the American Association of Museums’ Museums and temporary physical installations. I hope & Communities Collaboration Abroad (MCCA) that our programming will increasingly grant program and MetLife Foundation’s include vibrant exchanges and partnerships Museum and Community Connections grant. with physical museums as well as other virtual museums, and with organizations that believe Also in development is a major new project in the transformative possibilities for art, focusing on the theme of Global Motherhood education, and ideas in effecting change and and Maternal Health that asks what is new positively impacting communities. about the global experiences of mothers and daughters. The exhibition will celebrate Being a museum without a building is a new motherhood and explore how it intersects model that requires flexibility, responsiveness, with critical global human rights issues, from reach, and innovation. I look forward to IMOW poverty and economic empowerment to dignity continuing to pilot a range of online and offline and health. We will showcase women’s art, innovations in content, user experience, and stories, and creativity; celebrate women’s modalities. In the coming years, I suspect that accomplishments; and present opportunities for the question of whether a virtual museum is a change and women-led solutions. As with past “real” museum is one that younger generations projects visitors can expect a vibrant blend of won’t even think to ask!

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