As a professional photographer, my experience with architecture is not so much the history or study of as it is one of practical knowledge. You need to learn the hallmarks of the different genres to speak with some intelligence to various clients. Before working as an architectural photographer for Carnegie Museum of Art in 2004, I really only knew of Frank Lloyd Wright and a handful of other names, but of course still could pick out visually interesting buildings and enjoy the differences between eras. Continue reading
Teenie Harris is perhaps best known for his ability to photograph people and capture their spectrum of expressions as well as truthfully document their life events. He was surrounded by family, friends, and a large community who seemed to be drawn to him and offered their trust to his lens, as well as frequently “photobombed” the margins of his frame while he was on assignment.
But Harris also had a keen eye for architecture and the urban landscape—he was known to have a deep love for the city of Pittsburgh, and at times it seems as if the city itself was another member of his community. His landscape and architectural images show the same intimacy and the deliberate and careful composition that he used when photographing children playing in the street or a family being evicted from their home. Continue reading
I don’t know about you, but I’ve been thoroughly enjoying National Geographic’s remake of Carl Sagan’s classic PBS series, Cosmos: A Personal Voyage (1980), which debuted in March of this year. The new version, called Cosmos: A Spacetime Odyssey and presented by astrophysicist Neil deGrasse Tyson, demonstrates the persistent fascination of outer space, that unfathomably immense expanse within which we float “like a moat of dust in the morning sky.” One of my favorite parts about show is that it zooms all the way out to the limits of the visible universe and then all the way back in to earthly bodies at the microscopic level, creating a sublime sense of interconnection and wonder, of the universe around and within us. Apparently I’m not the only one geeking out over Cosmos: the video for Symphony of Science’s song “A Glorious Dawn” featuring Sagan and Stephen Hawking has been viewed almost 9 million times. Continue reading
What is your official title, and what are some of your general responsibilities?
Marketing and communications manager. My main responsibility is to plan and implement initiatives to drive attendance and secure maximum visibility for CMOA exhibitions, programs, collections, and staff. This includes social media, advertising, and community outreach, among other things.
What were you doing before joining us at CMOA?
I was the marketing director for Brooklyn Philharmonic, commonly known as Brooklyn Phil. It was my first time working with a performing arts organization, and during my time there I got to work with some amazingly talented folks: Alan Pierson (Alarm Will Sound, Crash Ensemble), Mos Def, Royce Vavrek, David T. Little and Erykah Badu, just to name a few.
What’s your favorite exhibition that you saw this past year (at any museum/event)?
Ann Hamilton’s the event of a thread at Park Avenue Armory in NYC. It was so beautiful, I never wanted to leave!
If you could steal one artwork from our collection, what would it be?
Dem Unbekannten Maler (To the Unknown Painter) by Anselm Kiefer. It’s currently not on view, so…
What is your major source of inspiration?
OMG Cats in Space.
Five things you can’t live without?
My Kindle. My iTunes library. Coca-Cola. Paper. Pencil.
If you were a Crayola crayon, you would be:
Coach marks in version 2.0 help orient the user to app functionality.
Last October, we released the first version of the CMOA mobile app in conjunction with the opening of the 2013 Carnegie International. During the past few months, many people have been using the app both inside the museum and elsewhere, and we’ve been studying how these users have been interacting with it. We asked users what they liked, what they didn’t like, what was confusing, and how we could make the experience better. After compiling this user feedback, we began work on a fairly substantial update to the app. Earlier this week we released version 2.0 of CMOA for iOS and we’re really proud of it.
If you haven’t already installed the update, you can get it on the App Store.
Updates to version 2.0 include an element we’re calling coach marks. One of the most popular pieces of feedback we received from users was that they didn’t know how to dive right in with the app. Many users indicated there was a small learning curve. In order to mitigate this, we added a series of coach marks that orient new users with a quick overview when they launch the app for the first time. The coach marks also appear infrequently throughout the user session to highlight commonly overlooked features like artwork bookmarking or social sharing.
We also introduced the ability for users to enlarge the body font. This control is gesture-based: pinch out to enlarge, pinch closed to reduce. In addition to font size control, we added some other usability improvements and squashed some bugs.
The most substantial updates, however, have been incorporated on the back end and are (hopefully) invisible to users. Version 2.0 brings support for the museum’s permanent collection and also gives us the ability to add or remove temporary exhibitions as they open and close. Currently, the permanent collection content in the app is made up of artworks that fall into three subsets: Director’s Choice with audio commentary from Lynn Zelevansky, Impressionism at CMOA with commentary from associate curator of fine arts Amanda Zehnder, and a Staff Favorites section that highlights meaningful artworks from various employees across all four Carnegie Museums of Pittsburgh. We will continue to develop and grow the available content in the coming weeks.
Go Ahead, Fork Us
Another back-end update invisible to most users is perhaps the biggest of all. As of today, we’ve made all the underlying code (for both the web-based CMS and the native iOS app) open source via GitHub. This means other institutions can freely use, adapt, extend, and repurpose (otherwise known in developer circles as forking) our source code for use in their own applications.
These are the first pieces of code the museum has contributed back to the open source community, and we’re excited about the possibility of contributing more in the future. For now though, we’d love to hear about how this code is being forked in other applications. If your institution is interested or has questions, don’t hesitate to get in touch via GitHub or more conventional methods.
Big thanks are again in order for Dimitry Bentsionov, who is the brains behind the code and has been instrumental in making this project a reality.