Monday, 28 August 2017

The right track: responses to our member survey

Image: https://commons.wikimedia.org/wiki/File:Crowdtesting.jpg

Thankyou

During May the Museums Australia (Tasmania) Committee circulated a ten question survey monkey to our members. We emailed members and put a link on our Facebook Page . The committee wanted your feedback to help us plan our activities and will use the results and comments into the future. Thirty five museum workers and fans stepped up to the plate and let us know what they thought. We are grateful. 

Something to note was the ease of using SurveyMonkey and for a limit of ten questions and basic analysis the service was free. It could be a useful tool for your museum in planning exhibitions and programs.

Snapshot

Time period: Between 3 May until 9 June 2017 with the bulk of responses in May
No. of respondents: 35
Best avenue for collection: Via direct email with a Web Link rather than the link from our Facebook page
Question 1: Few non members responded ( 5/35) with a fair majority being institutional members.
Respondent locations by postcode:
Most respondents came from around Launceston.
7250 (16) [Launceston];  7000 (3) [Hobart]; 7320 (2); [Burnie]; 7019 (2) [Rokeby]; 7248 (1); 7216 (1);  7268 (1);  7011 (1);  7052 (1);  7050 (1); 7018 (1);  7315 (1); 7015 (1)

Question 2:  Most respondents were paid museum workers in a museum with its own collection and a mixture of paid and unpaid workers. The museum received ongoing funds as well as fundraising. The museum displayed its own collection. Very few borrowed works from anywhere else.

Question 3: In terms of member benefits the currency of the online information was important and something the committee manages. Organisational members favoured the workshop subsidy.

Question 4: Price sensitivity arose again in terms of barriers to membership. Workers are time poor so reasons for membership have to be compelling. The indication that MAT promotion of our work is either insufficient or poorly targetted promotion a heads up for us (also indicated in Q8).

Question 5: Workshops were generally well received.

Question 6: School holidays universally dismissed as a time for PD. Half days on a weekday before noon (although afternoon also acceptable). Online workshops to be scoped.

Question 7: Workers are willing to travel up to an hour and twenty minutes. This is greater than the distance between Hobart and Launceston so unless the topic or content is completely on target and/or unique we should plan for region specific PD.

Question 8: Workplace communication the most effective followed by our FB page and the Arts Tasmania email. We should encourage organisational members to circulate information about MAT activities to their staff and volunteers. To note that many of our activities are held in collaboration and with the support of Arts Tasmania. 

Question 9: There was enthusiasm for online PD and respondents also like the idea of exclusive site visits followed by strategies to improve visitor experience, attracting school visitors (but little traction on families noted...) and using mobile devices. The option of collaborating with agencies that already have online workshop capability (such as the university) to be explored in future for webinars and streamed talks. 

For the full report download it here at this link

Congratulations

Linda Farrington from QVMAG emerged out of the hat as the successful recipient of 'kanalaritja: an unbroken string'. Linda gave us permission to let you know as the survey was anonymous declaring herself to be a lucky duck.  We are all lucky ducks to be in the industry we love. Until next time for assessing how MAT is going. 


Thursday, 24 August 2017

Bursary Report 2017 #2

Erin Wilson one of our Bursary winners
From http://www.abc.net.au/news/2017-07-10/erin-wilson-with-prints/8684780 with caption
Supplied: Devonport Regional Gallery, Robinson Collection


The Museums Australia (Tasmania) Committee offered its members the opportunity to apply for a bursary to attend the The Museums Galleries Australia National Conference 2017. Erin Wilson, Devonport Regional Gallery and Amy Bartlett, Queen Victoria Museum and Art Gallery were the two recipients. This is Erin's report. 


The Museums and Galleries Australia National Conference 2017 was greatly beneficial to my role as Curator at Devonport Regional Gallery, and I believe the insights I gained through the conference will also greatly benefit my co-workers at both the DRG and also the Bass Strait Maritime Centre as they are shared. I personally found the Regional and Remote Day to be the most beneficial part of the conference, through the insights of the international keynote speaker, reflections in concurrent sessions from other regional galleries and museums, and the networking opportunities and informal discussions with staff from other regional galleries.

In regard to the sessions, I found keynote speaker from Kids in Museums, Dea Birkett’s presentation an insightful look at how institutions such as DRG might make small but significant changes, to increase engagement with those that consider themselves ‘non art audiences’. Though Kids in Museums is specifically aimed at families, I felt several strategies discussed could aid increased visitation at DRG more generally, particularly as the emphasis was on low or no cost, replicable strategies. Strategies which could be implemented at DRG include; focusing on comfort (physical and emotional) as much as collections; focus on sharing stories; and approaching ‘hard to reach audiences’ in their own spaces, before expecting them to visit the gallery. Dea’s discussion of ‘Takeover Day’ in which young people are given significant decision making roles in institutions on an allocated day, is also replicable in my role, particularly in relation to our Droogs young members. Currently, the Droogs have little involvement with the collection/curatorial side of the gallery (their activities primarily focus on events and street art projects). Replicating ‘Takeover Day’ at DRG could assist in moving these young members into the heart of the gallery, allowing them to develop their skills and confidence, while providing the Gallery an opportunity to demonstrate our trust in these young members. In addition, I found Dea’s emphasis on the fact that there are no ‘hard to reach’ audiences, only ‘hard to reach’ museums, resonated with me in relation to the DRG, and how we may alter our approach to ‘non visitors’.

Two further sessions on Regional and Remote Day were particularly relevant to me in my role at DRG. Ian Tully from Swan Hill Regional Art Gallery discussed projects undertaken by his institution in rural communities facing economic hardship (in this case, artist residencies on farms in times of drought). Ian discussed the need to recognise hospitality as a key part of regional/rural life; and that even when people are not directly interested in art, social events constructed around galleries will often be welcomed – particularly if community members are invited to attend by friends/family, rather than the institution. Ian also discussed the need to consider legacy as a measure of success (rather than just attendance) as well as considering attendance in relation to per capita. I feel these thoughts are particularly relevant to upcoming projects I am working on using the Robinson Collection of photographic negatives, in which an ongoing, in-depth engagement from a small number of community members may be considered equally as valuable as large visitation numbers for an exhibition.

Further on R&R Day, Padraic Fisher from the National Wool Museum spoke about Reminiscence Cottage, their program for people with dementia. This was invaluable for me, as I have not had any experience working with people with dementia, however, it is expected that the Robinson Collection will be used for programs with people in Aged Care facilities in Devonport into the future. This talk included the use of photographs as prompts for discussions of the past; focusing on conversation and social engagement rather than ‘extracting memory’; the importance of non-verbal means to respond as well as verbal; and introducing photographs as stories for participants to add on to. These were all valuable insights that will allow me to best work with the Robinson Collection in this context.

On following days, I found the concurrent session Exhibition Design – Storytelling in Practice to be very beneficial. The panellists in this session discussed both subliminal design and the power of storytelling in design; found interpretation; the power of moving people’s bodies within spaces to move their attention; and the concept of designing in people (ie. Front desk staff and guides) in relation to experience and storytelling. The discussion of how much energy is wasted on orientation and environment (for example, looking for toilets/wondering about the entry fee) was also valuable, as this energy is expended and then not able to be focused on the exhibition. Working in a small gallery without exhibition design staff, and as we continue to plan for our relocation in 2018 to a new gallery building, I found this discussion around exhibition design, and building design and signage more generally, extremely useful.

I also attended several sessions throughout the conference which in varying ways discussed new technologies, access and the digitisation of collections. While I found the majority of the technologies, programs and strategies discussed were more focused on the larger state institutions (beyond the resources of small, regional galleries) I still found it interesting and useful to get an insight into the way these new technologies are being used to increase access to collections. While many of these technologies are out of reach, the values of increasing access, active participation, knowledge generation by audiences and interactivity are shared by smaller regional institutions, and I will continue to consider how these values can be achieved on a more modest scale at DRG into the future.

Finally, a tour and talk on the Museum of Brisbane’s exhibition ‘100% Brisbane’ was invaluable in relation to a Robinson Collection project I am undertaking in 2017/18 with the DRG’s Robinson Collection of over 20,000 photographic negatives. I have recently begun a project designed to collect ‘living history’ in the form of community members’ stories about Devonport, to be presented alongside the photographic collection in a 2018 exhibition. The 100% Brisbane exhibition collected and told the stories of 180 participants from the community, and this session gave me many insights which will aid my project. For example; people have to be able to see themselves in museums in order to embrace them; controversial ideas should not be edited or avoided, as society is complex; the importance of capturing ‘living memory’; stories should not be limited to a history of place – rather they’re an opportunity for dialogue and exchange; every story is authentic, even if not ‘factual’; the importance of open-ended questions in order to enhance interviews; and the power of spoken word – through voice recordings in exhibitions, as well as written text and visuals. Two other key issues were raised that I will take on board for my own project – the importance of including ways for audiences to continue to express their stories post-visit (through website, social media etc) and recognising the importance of maintaining contact with participants – remembering they are people, not exhibits. The insight into the way the 100% Brisbane project was undertaken, and the lessons they learned and shared, will allow me to conduct my own upcoming Robinson project in Devonport with a greater sensitivity and appreciation for how multi-faceted the project may become.

Overall, I found the Museums and Galleries Australia Conference 2017 to be an invaluable opportunity for networking, gaining insights into institutions, practice and projects similar to those I am undertaking, and gaining inspiration from a broad range of unique projects being undertaken by both larger, state institutions and other regional galleries throughout New Zealand and Australia.


-Erin Wilson

Curator, Devonport Regional Gallery

Thursday, 3 August 2017

EVENT: The role of museums and cultural tourism in Tasmania

Richard Mulvaney

FREE EVENT RSVP here

DATE AND TIME

Wed. 9 August 2017 @ 7:00 pm – 8:00 pm