M&G NSW talks Audience Research at MA National Conference

Lunching on the lawn at the 2012 MA Conference

I recently attended the Museums Australia national conference In Adelaide and spoke about the State-wide NSW public galleries audience evaluation study Guess Who’s Going to the Gallery. Though I have been talking about this project since 2008, every time I return to it I am reminded of how important it is as both a data set and a bench mark for gallery audiences in Australia. 

There were, of course, several other presentations in this session. Reagan Forrest & Jenny Parsons talked about a project using skills of corporate volunteers to track the pathways of audiences in the Aboriginal galleries of the South Australian Museum and how that data was interpreted and its results implemented. Gillian Savage from Environmetrics Pty Ltd spoke about a simple template for a short questionnaire on evaluating a program or event. Carolyn Meehan from Museums Victoria spoke about the need to share data on our audiences... and led by example. The final presentation from Jan Packer (University of Queensland) looked at evaluating audience experiences along 15 qualities.

The Guess Who’s Going to the Gallery: The NSW State Report can be found here.

Gillian and Reagan & Jenny’s presentation can be found here.

Following the session, I ran a workshop Getting to Know You on learning more about your audiences. Originally aimed at volunteer managed and run museums, it was clear from a little bit of audience research, that the people in this workshop were far from beginners. In many ways the workshop proved the point that knowing who you are talking to should absolutely frame the type of research you do and the way you go about it.

With this group, I spoke though some of the basic ideas behind why audience evaluation is of use as well as some resources available – with a more comprehensive list included in this post.

You can download the basics of the workshop Getting to Know You here

Finally you can always contact me at M&G NSW with any questions.

Michael Huxley

Platform to Heritage- Accessible Arts in Heritage Sites

On Monday 28 November, M&G NSW co-hosted an event with Accessible Arts exploring the requirements and challenges facing audiences and arts professionals with disabilities in heritage buildings. We were fortunate enough to have a range of speakers including disability specialists, architects and people working in heritage buildings operating as museums and galleries. A number of powerpoint presentations from the day have been uploaded to our website and are available through M&G NSW Resources. Speakers included:

Vince Sicari, Heritage Branch NSW, Office of Environment and Heritage

Vince is the Manager of the Conservation Team at the Heritage Branch and gave a great outline of how a building gets to be heritage listed, the implications of listing, the use of interim heritage orders, the relationship between the Heritage Branch and its guiding body, the Heritage Council and the sort of advice that the Heritage Branch can provide, through its Fire, Access and Services Advisory Panel (FSAP) Vince also mentioned two documents the Heritage Branch have produced New Uses for Heritage Places (which outlines the process of adapting a heritage building for a new use, including access for people with disabilities) and Design in Context (which outlines the process of building new structures within a heritage precinct).

Eric Martin, Eric Martin & Associates- Architects

Eric is an architect with over 35 years experience developing heritage buildings for disability access.  Eric provided an outline of the various pieces of legislation that impact on the provision of disability access to heritage buildings.  In particular the

Disability (Access to Premises - Buildings) Standards 2010 which came into effect in May 2011. Eric also mentioned the newly formed NSW Building Professionals Board's newly formed Access Advisory Committee, who are able to provide advice related to the Disability Standards including decisions about unjustifiable hardship.  Eric outlined the steps undertaken in planning for disability access to heritage buildings as follows:

1. Review the significance of the place and identify the elements of greatest significance
2. Undertake an Access Audit to determine existing and required levels of accessibility.
3. Evaluate access options within a conservation context. This process includes consultation with authorities and approval of the proposed action.
4. Prepare the access policy or action plan.
5. Implement the necessary action.

 From Eric's perspective, the key areas to consider include:

• •Parking 
• Access to building entry 
• Access through public entrances 
• Circulation throughout the main building 
• Access to other floors 
• Egress 
• Toilets 
• Other facilities
• Information

Eric's website includes a great series of images showing approaches not only to providing physical access to building but also ideas for improving access for people with visual impairment that can improve their enjoyment of heritage spaces.  The website also includes a series of publications related to access to buildings including Improving Access to Heritage Buildngs.

Mark Relf, Accessibility Solutions  

Mark runs a consultancy focusing on disability access.  Mark outlined mobility issues including: Lower reach ranges, lower viewing/sight lines, accessible amenities and steps.  He spoke of the need for ramps, lifts and also appropriate handrails.  Mark also highlighted approaches to improve access for people with vision and hearing impairment including: the use of tactile surfaces, Braille/raised print, large format labels/guides, audio description, increased general light levels, assistive listening systems (such as hearing loops), Auslan interpreters, captioning and printed material.

Mark encouraged people to consider not just access to the building but the entire visitor experience including  booking a ticket, finding out information prior to a visit, signage about access for people with disabilities,  where to park/drop people off, availability of seating/rest points, sightlines (which will be lower for people in wheelchairs), access to interactive exhibitions, the location of accessible toilets and staff/volunteer awareness. 

Mark pointed out that the low light levels in exhibitions can make it very difficult for people with vision impairment to find their way around and suggested that higher general lighting or lights with timers could help with this.  Similarly he suggested that strip lights on stairs could be of assistance.  He also pointed out that exhibition furniture hanging from the ceiling or sticking out into pathways could also be a hazard, as well as temporary barriers in the form of cables, ropes or retractable belts.  Mark provided links to some recent papers from the USA's National Center on Accessibility who have recently written papers on the museum experiences of people who are blind and vision impaired including

Exhibit Design Relating to Low Vision and Blindness: 

Current Media Technology, Appropriate Application of Technology, Future Research Needs 

What Visitors with Vision Loss Want Museums and Parks to Know about Effective Communication

Research on Effective Use of Tactile Exhibits with Touch Activated Audio Description for the Blind and Low Vision Audience

Tactile Mapping for Cultural and Entertainment Venues

The afternoon gave us an opportunity to hear from a range of people working in heritage buildings, mostly being used as museums and galleries which led to some really interesting discussions between the speakers and audience. Speakers explored approaches to improving access into buildings, virtual tours to fragile sites and approaches to improved access for people with vision and hearing impairment as well as the Deaf community. Speakers included:

Mantej Singh Head of Western Sydney Portfolio, Historic Houses Trust of NSW
As Head of the Western Sydney Portfolio, Mantej is responsible for a range of properties including Rouse Hill, Elizabeth Farm and Meroogal. Historic Houses can be difficult to provide access into as many are being interpreted in the manner of their original use, (including homes, small shops and a farm) which provides challenges, in particular with upper floors. Rouse Hill is a point in case where the fragile nature of the upper floors prevents any visitor access. Instead, the Historic Houses Trust has developed a virtual tour which not only provides panoramic views of each room in the property but allows visitors to open drawers, cupboards etc. to explore contents that wouldn't be accessible to anyone on an actual tour. The full virtual tour is available on terminals at the Rouse Hill Visitors Centre and Caroline Simpson Library (at the Mint, Macquarie St). Five of the panoramas are available for viewing on the HHT's website.

Julie McKenzie, Associate Director, Tonkin Zulaika Greer Architects
As an architect, Julie has worked closely on the redevelopment of a number of heritage sites for arts purposes including museums, galleries and performing arts. Julie has worked with Mark Relf on a number of projects and spoke of the importance of seeing the potential of a site in a design sense and consulting widely to ensure good access. She spoke specifically about three projects that she has been involved in- Carriageworks the train workshops in Eveleigh that have been redeveloped into a dynamic performing arts venue; Casula Powerhouse in western Sydney, an old powerstation that has been redeveloped into a dynamic gallery and performing arts venue in several stages over a ten year period and the Paddington Reservoir which was being used as a carpark prior to being converted into a sunken public garden.

Joe Eisenberg, Cultural Director, Maitland Regional Art Gallery
Joe outlined the work involved in redeveloping an early twentieth century technical college into a twenty first century art gallery. As with Casula Powerhouse, the redevelopment of Maitland Regional Art Gallery was undertaken in stages and has included the introduction of a new building to link two existing buildings (and in doing so avoiding the use of steps between spaces), the installation of a lift to the upper level, inclusion of accessible toilets and a sensory garden. A ramp was included at the new entrance to the building, Joe reflected on the fact that most people use the entrance at the other side, which comes straight in from the carpark. He pointed out that this in many ways has become the main entrance to the building as more people arrive by car than other modes of transport.

Julie Baird, Deputy Director, Newcastle Museum
Julie pointed out that not all heritage buildings are created equal, particularly in terms of access. The museum had been located in a heritage listed brewery on seven levels, with a lift that could only fit one wheelchair. The Newcastle Museum reopened in August this year at a more accessible heritage site, a railways workshop beside Newcastle's Civic railway station. As the building was originally designed to move train carriages through it, it has large entrances, with most operations on a single level, which is in terms of access and the movement of collections around the site. There is no fixed furniture in the cafe or theatrette which allows both to be arranged according to visitor needs and the activities being undertaken. The museum inherited a number of chairs from council which have been placed throughout the public spaces (including the accessible toilet) as the need for rest spots had been identified during the museum's redevelopment.

Newcastle Museum Volunteer, Di Taylor, who uses a wheelchair, has been providing feedback to Museum staff about accessibility issues as they arise, particularly in terms of exhibitions where a couple of showcases had been set too high. Julie acknowledges that there are some accessibility issues that haven't been overcome, such as the need for collections in some spaces to be at least 1m from the ground in case of flood and the fact that the tram which visitors are invited to climb in and explore is not accessible for those with a physical disability.
The Museum's motivation to continue to improve access for all people into around the site is reflected int their recent work with Vision Australia. Following the arrival of temporary exhibition Living in a sensory world: stories from people with blindness and low vision the Museum has been collaborating with the Newcastle staff from Vision Australia to develop audio described tours and material that can be accessed through a DAISY reader (Digital Accessible Information System- an audio reader used by many people with vision impairment).

The seminar ended with a lively discussion between the audience and speakers about some of the challenges encountered when using heritage buildings as museums and galleries.

Engaging audiences through Perth's CHOGM exhibitions

There was much discussion during the Museums Australia & Interpretation Australia conference At the Frontier about audience engagement, storytelling and collaboration. John Holden spoke of the development of active and intimate relationships between museums and audiences and Viv Golding spoke of the embodied knowledge objects hold and gave us some wonderful examples of the alternative histories and understandings that can be held within an object. I was particularly struck by Susan Cross's presentation where she reminded us that storytelling is at the heart of our work and that visitors are wanting a good story to take away from their visit so that they can share the experience with others.
Perhaps because all of this was so fresh in my mind, I was struck by the very different way in which I responded to these two exhibitions that on the surface appeared to have a shared focus on powerful, singular objects that highlight the power and majesty of the former British Empire.

Princely Treasures

Princely Treasures is an exhibition of key works from the Victoria and Albert Museum focusing on European decorative arts from 1600 to 1800. The exhibition includes a number of pieces owned by European Royalty, popes and significant figures of the period. Objects are simply displayed with the focus on the works themselves. There are a few wall panels that contextualise each theme (Princely Patronage, Power and Glory, Religious Splendour, Display in the Interior and Fashions & Personal Adornment) with images taken from paintings of the period to give some further context.

Descriptive labels that tell something of the object's history (if known) and some information about its manufacture and the materials used are provided for each object.



The Art Gallery of Western Australia appear to be opening their doors to a broader audience. The Gallery has extended their opening hours on a Friday night, visitors are invited to take photographs (no flash of course), a range of events have been held in conjunction with the exhibition, the children's program with an enormous crawl in palace and puppet show is delightful and the blog on their website is both lively and engaging. Despite these efforts, and perhaps because it was late on the Friday evening, I didn't feel engaged with the exhibition- there was no contextual information about the objects on display, no map of Europe to help understand the political geography of the region and no information about how these incredible objects were made (admittedly this could have been provided in the audio tour which I didn't take). None of the liveliness of the blog was present in the gallery spaces, the only staff were uniformed security staff clearly more interested in the imminent weekend's activities than the exhibition or the visitors.

Despite this, visitors were finding ways to build their own engagement, tell their own stories and provide further context to the exhibition. I overheard one visitor explaining to her friend in great detail the process of producing a sword with a nielloed surface. Another visitor was so enthralled by a pair of 1800 pointy pink shoes with polka dots that she called out to her friend "you must see these, they are SOOO you!!". Interestingly, these same shoes feature in Miss Hijabi's blog. All this left me wondering- do we need the contextual information? Can people just do it for themselves?

Extraordinary Stories

The next day I visited the British Museum's exhibition Extraordinary Stories from the British Museum at the WA Museum. Like Princely Treasures, Extraordinary Stories focuses on significant objects with interpretive labels. In this case the objects are from a range of Commonwealth countries and time periods (1.8 million years BCE to 2011 CE), mostly drawing on the British Museum's collection with several key items from the WA Museum. A short text panel at the entrance to the exhibition sums up the intent of the exhibition "Some of the most important stories are not those told by gold and silver, but through wood and stone. All of these objects have unique tales to tell." Even though this exhibition used a similar approach to Princely Treasures, the experience was quite different. The focus was on drawing out the story behind each object, at many points the label text invited the visitor to think further, admitted uncertainty and made connections with other objects in the exhibition.  

One of the first objects in the exhibition is a handaxe from Tanzania. The label is titled "Is this the World's most successful technology?" it invites the visitor to hold their hand up in front of the object and asks "Is it a coincidence that this ancient tool is roughly the shape of a hand?" The label goes on to explain how a handaxe is made and points out that handaxes have been made in the same manner for over a million years (whilst metal objects have only been made for 7,000 years).

Cone Shell beads, Exmouth area WA

Nearby, a set of cone shell beads from Exmouth WA (in the WA Museum's collection) dated to 30,000 BCE are identified as being the "oldest examples of human adornment in Australia", a link is made to a necklace from Kiribati, also in the exhibition. The label then asks "But 32,000 years ago were they merely a form of personal adornment? Or were they an indication of status, or the wearer having passed a formal stage of growth to adulthood?". I was particularly entranced by the objects that told stories of trade, mysterious items that turned up worlds away from where they'd been created. One such item was The Asante ewer, a bronze jug made for King Richard II of England between 1390 and 1399 that 500 years later was owned by the King of Asante, West Africa where it sat under a sacred tree in royal palace in Ghana, 1896. Another fascinating item was a drum that entered the British Museum's collection soon after opening in 1753. The drum came from what was at the time the Colony of Virginia (contemporary USA) and had been thought to be a native American drum. Further research has since revealed that it is an African drum from Ghana that would have been brought to Virginia on a slave ship.  

To provide further information, a series of touch screens are positioned around the exhibition where the exhibition's curator (British Museum's Head of Research, Jeremy Hill) talks personally and with great enthusiasm about some of the objects. An interview with Jeremy on local Perth radio station RTR gives a sense of his engaging delivery style.  

As well as engaging with audiences, the exhibition has drawn in many Perth locals who have volunteered as guides for the exhibition. Rather than running tours of the exhibition, numerous volunteer guides are positioned throughout the exhibition space acting as both storytellers and low key security. The guides are extremely well informed and very keen to share their knowledge about the exhibition. I myself prefer to look at exhibitions on my own and the guides were in no way pushy, nor did they intrude on my viewing of the exhibition. In conversation with one of the guides, he spoke with great delight about curator Jeremy Hill who came out to Perth prior to the opening and spent a week showing the guides through the exhibition, giving lectures on aspects of the exhibition and generally involving the guides in the final phase of the exhibition's realisation. 

 I suspect that it is this process that has led to such enthusiasm with the guides who are clearly delighted to be associated with the exhibition and keen to share its stories with visitors. Exhibition experiences are by their nature a personal thing, but for me, the emphasis on stories so prominent in Extraordinary Stories was an unexpected delight and has given me numerous stories to pass onto others following my visit.

Wooden Shield, Kaipel Ka PNG 1980s

Jandamarra Crossing Helicopter, Alwin Reamillo & Roseline Eaton Fitzroy Crossing WA, 2003

Throne of weapons, Cristovao Canhavato (Kester) Mozambique 2001

Snettisham great Torc, 150-75 BCE found England 1950 CE

 

Ignite the Power of Art- An evening with Gail Davitt, Dallas Museum of Art

We were privileged last week to have a visit from Gail Davitt, Chair of Learning Initiatives and Director of Education, Dallas Museum of Art (DMA) Gail's trip to Australia was organised by Museum and Gallery Servicess Queensland through funding from the Australia Council. Over a six year period the DMA undertook extensive audience research which has led them to rethink their relationships with audiences and indeed who those audiences are.

The research was undertaken over two key periods, an initial survey period from 2003-5 and a follow up in 2008. Randi Korn and Associates were engaged to undertake the research, and found that visitors could be statistically grouped into four distinct visitor groups:

Observers (26%)

• neither knowledgeable about art nor comfortable/emotionally connected to art
• interested in basic straightforward information about art
• Least comfortable explaining it to others
• 31% of this group are DMA members, 30% first time visitors

Participants ( 24%)

• want to connect with art in a variety of ways and seek interpretation through different mediums
• Acknowledge that they aren't familiar with art terminology, not comfortable talking about the meaning of a work of art to others
• 33% DMA members, 28% first time visitors

Independents (20%)

• Moderately confident viewing art
• Like to do so on their own terms without explanation and interpretation from the museum
• 32% DMA members, 28% first time visitors

Enthusiasts (30%)

• Confident, enthusuastic and emotionally & intellectually connected to works of art
• Comfortable looking at and talking about art
• Interested in all types of information about art
• Active participants in DMA programs and actively use interpretation offerings

The research has led the DMA to rethink who their audiences are, what audiences expect from the museum and how audiences engage with art.

One of the study's findings was that many visitors are interested in a variety of art forms. In response to this, the DMA has incorporated performing arts and writing into the interpretation of art through performances in exhibition spaces, the use of literary quotes in exhibition labels and inviting performing artists to respond to works. An example of this was a label in which Raphael Parry Executive and Artisitic Director Shakespeare Dallas (and Director of Texas Boumd, Arts and Letters Live at the DMA) responded to The Cloud Club a work by Matthew Barney incorporating a grand piano. The director's response provides a perspective on the work that was engaging and provided visitors with a new perspective on the work.

A further development was the inclusion of soundscapes in the recent exhibition Coastlines: Images of Land and Sea. The exhibition focused on coastal landscapes in paintings, works on paper and photographs from 1850- present. Faculty and students from the Arts and Technology department of the University of Texas created a variety of soundscapes that provided another layer to the visitor's experience of the exhibition. Similar to the way lighting is used in a gallery, some of the soundscapes washed through the space whilst others were only accessed when standing directly in front of the work.

This deeper understanding of audiences has influenced the developement of the DMA's SmARTphone app which provides users with a variety of opportunities to engage with and gain a deeper understanding of art. Introductory information provides a general understanding, for those who wish to go deeper, information is available about the artist, maker and/or cultural context of the work. This information is provided through photos, video, conversations and music. For those interested in engaging beyond the work itself, Responses uses sound design, film, visitor conversations and interactive opportunities for the audience to engage with and be inspired by the work.

One of the most interesting outcomes of the research has been the development of the Center for Creative Connections (C3). The C3 has been designed as a multigenerational space where both adults and children are invited to be creative and interact with both and exhibitions. The space includes a performance area, exemplary works from the collection and programming to encourage intergenerational activities. Audiences are invited to engage with the works on exhibitions through a range of activities such as Lick and Lather (Janine Antoni) a work involving busts of the artist in soap and chocolate. A barrier in front of the work held a series of magnetic words taken from the artist's work which visitors were invited to play with to piecing together their own reponse to the works.

Gail emphasised that the DMA spent a lot of time finnessing audience definitions. She was really honest about some of their trials that hadn't worked so well and how the DMA continues to learn from each project. The Center for Creative Connections is about to be redeveloped for the third time since it opened. This new iteration will be developed in pods/modules which will allow them to be reconfigured independantly of each other which DMA believes will be a less resource hungry approach but will also enable the C3 to be more responsive to change.

Over time the DMA's work with visitors has led to a 100% increase in audiences with more than 50% of visitors participating in educational and public programs. DMA now understand that different audiences expect different things so provide a range of experiences tailored to their various audience segments.

The DMA has published a book highlighting their approach to visitor engagement entitled Ignite the Power of Art . The book is written by Bonnie Pitman (recently retired director of the DMA and Ellen Hirzy and is available through Yale University Press

Thank you to the Australia Council for providing the funding to bring Gail to Australia and providing the venue for her talk and to M&GSQ, particularly Ann Baillie, for organising her journey in the midst of recent turmoil with Qantas.

Cool Comes to College Street

When is a museum not a museum? Or more precisely, how does the stuff (ing) that perceptions are made of become effectively recast? A visit to Jurassic Lounge, the Australian Museum’s recent Tuesday night foray into after hour’s event making, answered that question many times over!

As an idea, J-Lounge was conceived by Museum Director, Frank Howarth, following a visit to the California Academy of Sciences in San Francisco where, on Thursday nights, a similar style of event was being held. Tweaked and readapted for Sydney, Howarth hired The Festivalists, a Sydney based company that specialises in the production of cultural events that feature the hottest new artists, performers and DJ’s. Together they envisaged that success would involve a spectacular rearrangement of the institutional mood, attracting up to three hundred paying guests per night. As it turned out, the first season averaged over one thousand people per session (@ $15 per head) and the place was indeed ‘altered’.

As we approached the museum a queue stretched from the main entrance, down College Street, to the corner of William. Inside it was jumping, live music, performers and artists created scenes more reminiscent of a club in Newtown, or some other piece of nightlife central. It was a remarkable transformation with in house Interpretive Officers and Front of House staff ensuring through clever programming that guests were still engaged and interested in the exhibitions and collections on show. Clearly the koala and other cute marsupials that caught my eye, were twitching to the beat of a new generation.

With such a success on their hand I’ve no doubt Jurassic Lounge will return. So stay tuned, subscribe to the Australian Museum’s twitter account or become a friend on Facebook – be the first to know when ‘nocturnal cool’ once again descends on a ‘happening’ College Street.

Michael Rolfe

Guess Who's Going to the Gallery? launched last Friday

From Left: Michael Huxley, Finance & Administration, M&G NSW, The Hon. Virginia Judge, Minister for the Arts and Fair Trade, and Michael Rolfe, CEO, M&G NSW

As someone involved quite closely with gallery audiences over the past few years it was genuinely exciting in my new role as CEO of M&G NSW to introduce NSW Minister for the Arts , Virginia Judge, as she launched our much anticipated gallery audience evaluation study  Guess Who’s Going to the Gallery , in Sydney on Friday.

Three years in the making, with over 7000 responses across 41 public galleries, the report’s key findings confirm that galleries offer an accessible, stimulating and engaging form of cultural activity for people from all walks of life – in communities throughout NSW.

In short, the research reveals that if you have 10 people standing in front of an artwork in a public gallery, it is likely that:

·        At least one will speak a language other than English

·        Two will be under 35 and at least three will be aged between 35-54

·        At least five will live in the local area

·        Three will be first time visitors

Significantly, survey results also highlight the importance of cultural tourism to the gallery audience base, with over 20% of all visitors describing themselves as a tourist. I would expect that this figure is also reflected in museum visitation – adding impetus to calls for Tourism NSW to sharpen and renew its focus and support for regional cultural tourism campaigns and strategies.

Strong connections are also being made locally. In Regional NSW for instance, some 72% of audiences live within the local government area of the gallery visited.  Statewide, 13% of audiences are from culturally diverse backgrounds, a figure which rises to 20% in metropolitan Sydney, and across age groups, income levels, education and work commitments, visitors express an overall 98 % satisfaction rating of experiences had.

It must be remembered that all this happens within an extremely competitive market for all sorts of leisure and general recreational pursuits. Reinforcing (for those that didn’t already know) that cultural activity is a significant and important part of many peoples lives – indeed it just might be a driving force!   

Follow the link below for access to the detailed report (which we hope might inspire a bit of blogging in response)!

http://mgnsw.org.au/resources/guess_whos_going_to_the_gallery_the_nsw_state_report/

To view the ABC Story click here: www.abc.net.au/news/stories/2011/01/28/3124239.htm?section=justin

To view the SMH Story click here: www.smh.com.au/entertainment/art-and-design/art-galleries-draw-the-young-the-old-and-most-of-those-in-between-20110128-1a8dg.html

 I look forward to talking to you soon.  

Michael Rolfe

CEO

M&G NSW