By Saralyn Rosenfield, Laura Thompson, and Kate Swanson
Introduction
The evidence that spaces dedicated to children enhance and deepen engagement for family audiences at art museums is well documented. But how can art museums craft spaces that stay true to the ethos and themes particular to their collections and missions? Interpretive projects dig into themes we want visitors to engage with more deeply, such as process, identity, materials, or cultural heritage. Children’s spaces can achieve these same interpretive goals – especially with the help of contemporary artists, who can be responsive and energetic partners.
The AAMI blog has highlighted interpretive projects for and by children in recent months, but overwhelmingly, interpretive projects and programming or resources for children tend to continue to live separately. Partnering with contemporary artists also helps to bridge this gap in art museums as the logistics necessitate cross-departmental cooperation that brings the project out of the basement (or hallway, or satellite space, or other locale set aside for noisier visitors).
In this post, three museum professionals highlight their previous work on children’s spaces with contemporary artists. The museums represent undertakings with similar goals at museums with varying staff size, budget, and access to well-known artists. Saralyn Rosenfield, Laura Thompson, and Kate Swanson review logistics, goals, and major takeaways of the respective drop-in spaces they managed and curated. We hope this will function as a toolkit for other art museums looking for meaningful ways to deepen family and artist engagement through an interpretive lens.
Kids’ Corner Family-In-Residence at Delaware Art Museum
Kids’ Corner is a child-friendly space at the Delaware Art Museum created in 1987. Several generations of young visitors and their families have fond memories of visiting the space, which included a static installation of interactives primarily focused on the elements of art and the museum’s collection. Around 2015, there was increased interest from the museum and donors to refresh Kids’ Corner and increase family engagement. This provided an opportunity to rethink how the space functioned and aligned with the museum’s goal to make art more accessible and relevant through different interpretive strategies.
In 2016, museum staff reimagined and programmed Kids’ Corner to be a gallery where families could immerse themselves in the collective imagination and creative mind of an artist. After engaging an artist who wanted to spend more time with their family, the idea for a Family-in-Residence program was created. The residency invites an artist and their family (however one may define family) to conceptualize, design, and install art throughout the entire Kids’ Corner space for family audiences to interact with and experience. Since the program’s inception, four families have created and constructed ambitious installations that have ranged from conceptual and abstract to musical and whimsical.
Museum education staff worked with consultant Stacey Mann on developing visitor goals and the residency concept. Working with artists required more than just education and facilities staff. In addition to education and facilities, a cross-departmental team was created that included curatorial, registrars, preparators, communications, and advancement. Additionally, family audiences and artists were involved as advisors and contributors during the development process. The residency was not an activity or program that lived outside of the museum’s exhibition schedule, whereas the previous iteration of Kids’ Corner existed like other visitor amenities and public spaces. Instead, the residency was treated like an exhibition, which ultimately increased the curatorial department’s involvement with the project.
To better anticipate staff involvement with each new installation, the residencies are planned six months before they are installed, while the previous installation is still on view. Over a 6-week period, the space is closed for deinstallation and the new resident family installs their work. Each installation is on view for approximately two years.
The pilot family-in-residence cost $8,000, and increased to $20,000 for long-term installations. $10,000 was allocated for the family’s honorarium, and another $10,000 for materials, supplies, and labor. An additional $5,000 or 25% of the budget was set aside for unforeseen costs and ongoing maintenance. The program was funded through individual donors and in-kind donations from companies that provided construction materials.
MASS MoCA’s Kidspace: A Legacy of Social Justice-Oriented Exhibitions for Children
MASS MoCA’s Kidspace has long been a unique, interactive exhibition space designed to engage children with contemporary art. Initially a collaboration with the Clark Art Institute and Williams College Museum of Art in 2000, I joined the project in 2002. Over the years, Kidspace evolved from a playful, creative space to a platform for addressing critical social issues like racial justice, environmentalism, and gender equality, introducing children to the world of social justice through art in accessible, thought-provoking ways.
The development of Kidspace as a social justice-focused exhibition space was a collaborative effort, drawing in key partners from various institutions. Initially, MASS MoCA, Clark Art Institute, and Williams College Museum of Art each contributed their expertise in education and art. Over time, the internal MASS MoCA team—curators, educators, and exhibition managers—played a vital role in shaping exhibitions that promoted critical thinking about social issues among young audiences.
A key part of Kidspace’s success was working with renowned contemporary artists like Wendy Red Star and Nick Cave. Both artists created new work specifically for Kidspace, addressing themes such as Native American identity and racial equity. Red Star’s hands-on installation engaged children directly with her cultural heritage, while Cave’s immersive environments, showcased both in Kidspace and in MASS MoCA’s Building 5 gallery, explored racial identity. These artists also participated in residencies and workshops with children and teens, allowing young audiences to collaborate with them and create their own art. We also developed curriculum materials for educators and hosted public programs like the ArtBar Boxes, interactive kits designed to engage children with the artists’ work.
The decision to focus Kidspace on social justice stemmed from MASS MoCA’s mission to use art as a catalyst for meaningful societal conversations. The museum recognized the power of art to address complex issues in ways that resonate with children, fostering empathy, compassion, and activism. By introducing these themes early, MASS MoCA aimed to empower the next generation to think critically and act thoughtfully in the face of social challenges.
Kidspace officially became a permanent exhibition space at MASS MoCA in 2012, evolving from its pilot phase into a central part of the museum’s education department that I established that same year. Throughout my tenure until 2023, the space shifted focus from general interactive exhibits to those tackling more specific social issues. By the mid-2010s, exhibitions focused on racial equality, immigration, and Native American justice, challenging children’s perceptions and encouraging them to reflect on their roles in creating positive change.
Funding for Kidspace’s social justice exhibitions came from a combination of grants, donations, and partnerships with organizations supporting art and education. Kidspace was integrated into the museum’s broader mission, ensuring that the space was aligned with MASS MoCA’s commitment to community engagement and transformative learning.
KIDS ROCKWELL Art Lab and Community Connections
The Kids Rockwell Art Lab is the satellite space of The Rockwell Museum in Corning, NY. Unaffiliated with Norman Rockwell or his namesake museum, The Rockwell in Corning was founded by local business owners who collected Western American Art in the first half of the 20th century. Originally displaying the collection in their department store, the museum has always been a beloved local community center. In more recent history, The Rockwell has emphasized contemporary American art, telling rich, inclusive stories. The Rockwell had a long tradition of carving out space for young visitors, and in 2018, committed further by renting a storefront on historic Market Street to feature drop-in exploration, art-making and family-oriented special exhibitions.
The inaugural special exhibition in 2019 traveled from a Children’s Museum, but in the years following, the team developed a process to work alongside contemporary artists to transform the space with young visitors in mind each summer. Along with the opening of the Art Lab came a position dedicated to both managing the space and interpretive initiatives at The Rockwell Museum more broadly. As the Interpretation and Public Engagement Educator, I worked alongside the leadership and Education teams to create an RFP, vetting process, and budget to operationalize the initiative. We eventually shifted the timing of our summer exhibitions to better align with the existing curatorial calendar in order to formalize the involvement of our preparator to assist with installation.
Initially, the plan for summer exhibitions at the Art Lab was to host a traveling show every other year in consideration of budget and staff capacity, but in searching for children’s exhibitions that aligned with The Rockwell’s collections and exhibitions, we learned that existing traveling exhibitions that fit our vision were few and far between. The Kids Rockwell Art Lab was designed as a fully interactive space deeply tied to the artistic process and themes explored in our exhibitions. Most traveling exhibitions for children were either created at a children’s museum to be interactive, but not really about art, or comprised original artworks that could not be interacted with. Also, at The Rockwell Museum, programs and exhibitions each year align with an annual theme. By partnering with artists, we could co-create an interactive experience for our audience that we knew would suit our specific needs and suit our theme.The Interpretation and Public Engagement Educator worked hand in hand with the artist throughout the process. Considering the community-centric roots of The Rockwell and the artistic DNA of Corning, partnering with local artists as often as possible made the most sense.
Exhibitions were installed in the Art Lab for the summer. As a children’s space, but not a children’s museum, our visitor cadence was predictably and extremely different from one part of the year to the next. In the summer months, tourism to the area and kids’ school breaks drove large numbers to the Art Lab. Anticipating thousands of visitors, it made financial sense to swap out our typical consumables for new interactive stations that were more collaborative and ephemeral rather than make-and-take projects.
The RFP to local artists would be shared via community organizations fall of the year prior to when the exhibition would open, giving the team 9-12 months to select and contract an artist and begin the process of co-creating the vision for an installation. By March of the year preceding the installation, the concept would be approved and finalized, and we would expect the artist to begin work on fabricating the components of the installation. Deliverables built into the contract ensured the timeline was on track and that the concept was remaining true to the annual theme and interpretive goals.
The exhibition was budgeted to the Art Lab budget. The all-in budget between 2020 and 2023 was about $10,000 annually and included artist honoraria, printing, and supplies to create the installation. Supplies to restock art-making activities for the duration of the exhibition were budgeted separately, as was the opening reception. The Art Lab has a discrete budget outside of Education or Curatorial. Housing in the Art Lab budget is then accurately representative of the consumable materials used during the installation that might overlap with other times of the year. It also circumnavigated concessions to other exhibitions in the main museum space. Community Foundation grants or other partial funding sources would contribute, but the cost was built into the annual budget and not dependent on outside funding. Some artists applied for and received grants to add an additional revenue stream for their work and materials, above what The Rockwell was able to pay. The Rockwell Museum has an annual contemporary commission in its rotunda, which was used as a guideline to set artists’ fees.
Conclusion and Key Takeaways
1. Balance artistic vision with reality.
Working with artists on family-centered installations demand the same level of care, caliber, and rigorous processes as any other museum exhibition. Treat family-oriented artist interpretation projects with this same level of attention, collaborating with departments such as curatorial, registrars, art handlers/installers, facilities, and frontline staff. Openly communicate with artists about potential barriers and constraints throughout the project to foster a realistic and collaborative environment. However, collaboration must be balanced with empowering artists with creative freedom and support for their unique vision. This delicate balance allows for innovative and impactful installations that both reflect the museum’s goals and fulfills the artist’s artistic expression.
2. Prioritize accessibility and user experience.
Prioritizing accessibility and user experience is paramount in creating successful artist-led installations. Universal design principles should guide the creation of installations that are welcoming, inclusive, and usable by all visitors, regardless of their abilities or backgrounds. Installations should be designed to be intuitive and comfortable to engage with, minimizing the need for excessive signage and prioritizing visitor safety. Involve both artists and the intended audience in the design process to ensure meaningful and user-centered outcomes that resonate with visitors.
3. Plan ahead and budget wisely, equitably, and sustainably.
Budgetary needs must be carefully assessed, including a fair honorarium for the artist, sufficient funds for materials and supplies, and a contingency fund for unforeseen costs. Artist contracts should clearly outline ownership of the artwork and include clauses that address potential for future installations by the artist. Environmental impact and long-term sustainability should also be factored into the planning process. Sustainable practices involve selecting durable and cost-effective materials that minimize environmental impact while maintaining the artistic integrity and safety of the installation. Long-term planning is essential, encompassing considerations such as ongoing maintenance, potential for rotation or repurposing, a well-defined deinstallation plan, institutional schedules, and the necessary staff support. Finally, a robust contingency plan is vital to address unforeseen challenges and ensure project success. This might include providing artists with “fake” deadlines to manage project timelines effectively and anticipating potential maintenance needs by cushioning the budget.
4. Art can spark social change.
Kidspace demonstrated the powerful role that art can play in fostering empathy and activism in children. Through a four-year evaluation and exhibition project called Art For Change, we were able to substantiate the claim that art can help children recognize and connect with feelings of empathy, optimism, and courage.
One of the key highlights of the project was the significant shift in students’ understanding of empathy. Before participating in the Kidspace tour, only 15% of students could accurately answer the question, “What does it mean to you to ‘walk in someone else’s shoes?’” By the end of the year, 67% of students were able to respond with a deeper, more reflective understanding of empathy. This growth in emotional awareness demonstrated the power of art to open students’ hearts and minds to the experiences of others.
In addition to this shift in student perspective, the project also showed how art programming can support educators in their teaching efforts. A significant 87% of teachers reported that the Art For Change empathy programming was relevant to their classwork. Of these, 54% specifically connected the programming to their school’s anti-bullying initiatives, such as the Second Step program, integrating these artistic experiences into their broader efforts to foster a supportive and compassionate classroom environment.
This combination of measurable outcomes and teacher feedback highlights how art can not only be a tool for personal growth in children but also serve as a bridge to important social issues like empathy, kindness, and activism.
5. Collaboration is key.
The success of these exhibitions relied on partnerships with artists, curators, educators, and the local community. We worked alongside artists to craft the experiences, engaged with community members to develop programs that aligned with classroom activities, and collaborated with the staff at MASS MoCA and other cultural organizations to weave social awareness and justice into various contexts.
6. Children are ready for big ideas.
When given the right tools and environment, children can engage with complex social issues and become active, thoughtful participants in change.
7. Trust the power of diffused ownership with a strong institutional vision.
When co-creating, a strong institutional vision and voice is key to ensuring your message remains strong. When your artistic partners are aligned with the museum on a strong message, this makes it easier to both empower and trust the artist’s expertise. The visitor-facing staff play a strong role in bringing this vision to life as well, and their ownership over the project is critical to making the most of the installation. Visitor-facing staff are responsible for upkeep and alerting management to any maintenance or restocking needs. Their buy-in and excitement will help maintain the integrity of the installation, and increased visitor engagement will bring unexpected moments to the project. Visitors will, as always, find moments of opportunity when invited to interact with an installation that the museum and artist never dreamt of. Visitors will continue to discover unexpected opportunities to engage with installations in ways the museum and artists never imagined. Embrace these moments of visitor interaction to truly bring the installation to life.
Kate Swanson
Kate is the Associate Educator, Family Programs at The Metropolitan Museum of Art in New York, NY. She has held previous roles at The Rockwell Museum in Corning, NY and The New Britain Museum of American Art in New Britain, CT overseeing youth programming, interpretation, community engagement, and gallery activations and family spaces. She advocates for integrating opportunities for intergenerational groups to closely engage through gallery activations and seeks to help museums pivot from welcoming families for programming, to empowering visitors with children to enjoy art museums any time.
Kate holds a BA and MA in art history with a specific focus on contemporary American art and collaborative practices. In addition to her work in museums, she is an adjunct instructor of Art History, enjoying another avenue to facilitate connecting individuals to experiences with works of art.
Laura Dickstein Thompson, EdD
Laura is a leader in the arts with over 35 years of experience in museums and arts education. From 2002-23, she served as MASS MoCA’s founding director of education and Kidspace curator, where she curated 30 exhibitions with renowned artists and developed community programs focused on social justice and emotional learning. She is now the executive director of Berkshire Art Center and the founder of Breathing Space | Dr. Laura Thompson, LLC, a consultancy integrating mindfulness into art-making, curation, and education.
A dedicated educator, Thompson has taught at UMASS Dartmouth, Williams College, and MCLA, and has presented nationally and internationally on creativity, care, and social justice in art education. She holds a Doctorate in Education from Columbia University Teachers College and certifications in meditation and Kundalini yoga. She leads “Mindful Creativity” workshops and retreats at Kripalu Center for Yoga and Health in Stockbridge, Mass. and continues her personal practice as an abstract expressionist oil painter.
Saralyn Rosenfield
Saralyn is a seasoned museum professional with a passion for fostering meaningful connections between people and art. Currently, she serves as The Constance Williams Director of Student and Educator Engagement at the Philadelphia Museum of Art, where she is spearheading initiatives to increase student and educator engagement and programs that foster critical thinking, creativity, and cultural understanding. Additionally, she is an advisor and adjunct instructor at Bank Street College of Education, sharing her knowledge and experience with future generations of museum educators.
Prior to her current roles, Saralyn held the position of Director of Learning and Engagement at the Delaware Art Museum. During her tenure, she successfully implemented strategic initiatives that centered on the diverse communities of Wilmington, Delaware, resulting in increased educational access and cultural relevance. Her early career experiences at the Philadelphia Museum of Art and the Walters Art Museum further enriched her understanding of museum education.
Saralyn holds an M.S.Ed. in Leadership in Museum Education from Bank Street College of Education and a B.F.A. in Illustration with a minor in non-Western Art History from Maryland Institute College of Art.