To give you an overview of what someone who works in museum marketing does , I thought that I’d outline my typical day. In order to do that, I recorded my activities throughout the past Monday. While some of you were relaxing (or partying) on your Columbus Day off, I was hard at work with my fellow colleagues at the IMA.

Image taken from ugotbling.com

COLUMBUS DAY, OCTOBER 12, 2009*

8:27 Arrive at office. Plug in laptop.

8:35 Sip coffee and respond to emails sent over the weekend.

8:50 Research the 100 Acres: Virginia B. Fairbanks Art and Nature Park for IMA  Magazine article.

9:15 Write interview questions for article to send to Ed Blake, the  landscape architect for 100 Acres.

9:32 Email interview to Ed Blake.

9:37 Discuss signage in Efroymson Family Entrance Pavilion with Marketing Manager.

9:42 Register for Next Audiences Summit.

9:52 Review marketing budgets from last 2 years.

10:22 Read NYT’s article about the Louvre’s attempt to ‘Loosen Up.’

10:34 Get distracted by Jamie Oliver article in NYT’s Mag.

10:39 Review Web site content. Put together work plan to present in the afternoon’s Web team meeting.

11:22 Read Geoff Von Burg’s blog entry.

11:31 Email this week’s TV schedule for Sacred Spain commercials to Max, curator Ronda Kasl, and Nugget Factory.

11:38 Check attendance numbers from the weekend.

11:39 Organize opening weekend debrief meeting for Sacred Spain.

11:45 Polish up communication pieces for potential Winter Nights and Summer Nights media sponsorships.

12:18 LUNCH (Lean Cuisine and Fage Yogurt).

12:38 Watch Gentleman Broncos movie trailer.

12:41 Send movie trailer to Dan Dark.

12:44 Change Twitter name from @IndyArtGirl to @MegLiffick.

12:50 COFFEE.

1:00 Catch up on emails from the morning.

1:30 Web Team!

2:50 Review and edit Group Tours corporate mailer for Sacred Spain.

3:15 Respond to email from Contemporary Curator Lisa Freiman about the prestigious national award that her husband received. Congrats, Ed!!!

3:17 Create an initial inventory of marketing materials that can include media/corporate sponsor recognition during 2010.

4:02 Continue to draft 2010 marketing plan for Public Programs.

4:48 Brainstorm about communication ideas for TAP.

5:21 Respond to remaining emails.

5:42 Leave office. Head to gym.

6:13 Check email while running on treadmill at gym. DANGEROUS!

6:16 Attempt to respond to an email while on treadmill at gym. EVEN MORE DANGEROUS!

8:15 Read IBM’s social media guidelines while watching Will Ferrell on Man Vs. Wild.

8:30 Close laptop. No more work for the day.

*Please note that I have left out some details such as phone conversations, specific email correspondences, bathroom breaks, and Facebook and Twitter checks.

Next up (Oct. 28), I’ll tackle the ginormous topic of branding a museum. Stay tuned.

Ooooo, the blog is getting a little too deep and self-consciously artsy.

Who said something about art being either plagiarism or genius?  In the horticulture trade, one of the first things a gardener learns is to borrow and adapt what others do. A good gardener  gives proper credit when told, “That is a nice plant combination.”  So, John Teramoto, Marty Krause, Annette Schlagenhauff (am I forgetting anyone?) – thank you for the exhibit Lay of the Land.

The exhibit combining Asian and Western art prints and poetry, set me to thinking about how often images in the galleries, or music and poetry cause me to recall some beautiful place I’ve experienced.  Nice memories and feelings …. trying to capture the bliss of the moment.

So as Autumn brings another season to a close, I offer some images and poems, with apologies to the artists,  that reminded this gardener of the promise and beauty of Spring as compensation for labors…

Work
The corn is baking in blue smoke,
Pickled tomato is piled ready on my plate,
And the chrysocolla of a young cedar branch is close.
Yet the breakfast that should be calm and enjoyable
makes me uneasy.
I’m worried about the manure I threw yesterday
From the horsecart and left on the slope.
Kenji Miyazawa 1896-1933

Manure and compost on vegetable garden at Oldfields

“Peasants Going to Work, by Jean F. Millet (IMA 40.65)”

============================================

Ah. It is spring,
Great spring it is now.
Great, great spring.
Ah, great –
Matsuo Basho 1644-1694

Apple blossom in April 2009, Gene and Rosemary Tanner Orchard, Oldfields at the IMA. Photograph by Sue Arnold

Check out the IMA’s searchable database of the art collection any time.

Check out the flowers, and maybe some leftover
manure,  dawn to dusk on our 152 acres, or right where you live.

Ed first witnessed the site decades ago while on a work assignment in Columbus.  He was then only able to peek through the already tall arborvitae hedges guarding the property’s east side, but knew the place was indeed very special.  After all, one of the 20th century’s masters of landscape design, Dan Kiley, had worked his magic here.  For all of us in the field, this is a place for reverence.

Miller House, summer 2009 (Ed Blake and Bradley Brooks on far right)

My own first encounter with Miller House and Garden was very similar, taking place on May 1st of 2007 as part of a charrette involving Miller family members and architects, landscape architects, and preservationists from around the country.  We all assembled to discuss the many attributes of the property and who might be the best stewards of the site in the future.  Part of the weekend’s program was a visit to Miller House with an insider’s tour of both home and landscape with the Miller children.

The weather on that mid-spring day couldn’t have been nicer.  A clear blue sky was the perfect complement to the lush pink blooms of the large saucer magnolias framing each side of the house.  Though some in the group had visited before, many of us knew the site only from photographs, articles, and monographs on the designers involved.  This truly was a special treat – to witness this mid-century marvel and examine it in such detail, with members of the Miller family sharing their own experiences of growing up here.  Quite a privilege, I think, for them to call this home, and for us as well to hear about that experience directly.

Magnolias at Miller House

Over the ensuing months, the IMA continued to conduct further research on the property and its three principal designers – Eero Saarinen, Alexander Girard, and Dan Kiley – to help us better understand how this place came to be and how much influence Mr. & Mrs. Miller had on its outcome.  We were, of course, elated to be the recipient of the Miller family’s generous bequest of the property and funds for an endowment.  And by pure coincidence, the transfer of the property came on May 1st of 2009, exactly two years to the day since we first laid eyes upon it.  Those same magnolias were blooming brightly once again in honor of the event.

But this just begins our serious work on the property, bringing the home, its interiors and furnishings, and its landscape into a form approximating their earlier condition.  We have a goal of opening the estate to the public two years from now.  Research in Columbus and at repositories of archived material at sites around the country will occupy the time of Bradley, Craig Miller, and me, as well as many others as we further the process of understanding this important treasure.  We’re so grateful to be able to add Miller House and Garden as another National Historic Landmark (Oldfields being the other) to the IMA’s array of historic offerings.  I invite you to stay tuned for more details on our progress.

So, it has been quite some time since we last blogged. Got tons of reasons why. Let’s see, we can start with our planning and facilitating our last Team Building meeting (which occurred in June). We’re also in production mode for our upcoming gallery and museum shows. We have family obligations that include end-of-the-school-year festivities. We have our other, extra-curricular activities such as martial arts and band practice.

But no excuses.

Wea culpa.

Members from a variety of IMA departments participate in the Type A project.

We can attest to the fact that it’s hard to maintain the level of energy and, truth be told, excitement throughout the Team Building project. And, now, the meeting-with-the-group-portion of the project has concluded. The Align sculpture is being produced as we write and we still have the installation and opening to look forward to. But the meetings are over.

And this brings us to the focus of this blog entry. What happens when the the project, the experience, nears or comes to an end? How does one transition out of being actively involved in this process back into life without it? As artists, we experience this every time we finish drawing or editing or printing or framing whatever we’re making (okay, we don’t actually frame our own work, but you get the idea). But what we’re talking about goes beyond the creative process. Or, more accurately, it expands the realm of artistic process into the viewers’ experience.

When we were training up at High 5 waaaaay back when, we found ourselves in the middle of what was acknowledged to be a pretty profound experience. The group with which we worked bonded in a way that surprised even veteran facilitator and yoda-esque guru, Jim Grout. The question arose: how do we transition back to our “real lives”? How do we take all of what we experienced back home? The answer, as we discussed again and again (as if we could wrangle something tangible from the words) was that we shouldn’t necessarily try to do anything, shouldn’t try to hold on too tightly. We could, if we were aware, let the experience seep back into our lives in ways that maybe we couldn’t predict. Sounded like a tall order at the time, especially since we were all psyched to go and tell our families and friends about what happened.

So, we did exactly that. Went home. Told family and friends that something pretty great had happened. Let them know that we couldn’t communicate everything but hoped it would come out. In time.

And that’s where we find ourselves now at the end of this portion of Team Building. How do we take myriad events we’ve all experienced throughout the project allow them to integrate into our lives? And, by extension, how can we, if it’s possible at all, convey its substance and spirit to the 100 Acres visitor? If the nature of the work we’ve done together is intangible, without physical residue and based on experience, then how can that be meaningfully communicated to both intimates and a larger public? Without bridging this gap, the project will remain a closed loop and the Align sculpture will not realize its full resonant potential. It’s time now to reflect upon the seemingly contradictory endeavor of recording your thoughts and anecdotes for park visitors. We ask you to do this to reflect and to see if that very action can bridge a formidable gap. Ultimately it’s up to each member of the team to decide his or her involvement. Didactic by choice? In any case, we ask that you take the leap and see where you land.

We’ve been avoiding writing this blog entry (even more than our usual procrastinating selves), since it would mean some amount of closure. We have to acknowledge that some of our time together has ended. By extension, we have to acknowledge that our time working together will, at some point, end altogether.

While we look forward to the culmination of what we’ve done together at the opening of 100 Acres, we’re not looking forward to the finality of the calendar which specifies an ending when Align is de-installed. But, like any artistic endeavor, we hold on loosely to what we can and hope the rest lingers and maybe gets woven into the fabric of our lives.

Type A: Adam and Andrew

We have the shared experience. We have some images and some words. We have the group’s collective memory and creative energy, much of which went into the inspiration and design of Align. We have so much.

And to be clear, this is a thank you, not a good-bye.

A+A

I use a great tool called AutoStitch to create these panoramas from individual photos. You just have to manually adjust your focus and exposure and then rotate in place while shooting away. As long as there’s some overlap between shots and the lighting is consistent, it does a pretty good job of merging photos automatically. For this scene, I had to stitch a few groups independently and then stitch those mini-panos into the full panorama. You can see above that the lighting had changed due to shifting clouds and the complexity of the bushes even thwarted my own pattern matching capability. The photos that I took a few weeks ago stitched a little more easily and capture a more cheerful vista.

That’s not the end of my tale, however. I continued walking around the lake, expecting that I would be able to make a full revolution because the weather had been pleasant for quite a while and I had been watching our stream gauge reading drop daily in anticipation of a nice stroll. Unfortunately, when I got to the inlet that connects the river with the lake, I found that I wouldn’t be able to ford it while keeping myself dry below the knees. Not unless I had an olympic-class long jump.

You can now learn some basic geology about the White River and 100 Acres on the IMA website, thanks to our collaboration with the U.S. Geological Survey. There’s still more information to come about floods and we’re also looking into adding some guidelines that will help IMA staff and visitors determine when the park is flooded.

From what I’ve learned, the inlet is more complicated – the water level there depends on the amount of water flowing in the river, the amount of water that has entered (from both the river and precipitation) and exited the lake, and the rate of evaporation. If we can solve that puzzle we’ll be able to determine when it’s possible to hike all the way around the lake. For now, just keep in mind that even after a few days of fair weather the inlet may be too wide to cross without getting wet.

New Media will have a very busy summer, both inside and out.

Regarding the great outdoors, we plan on installing more of the bird cams in 100 Acres.  You may have seen this video, but our hope is to capture more activity of the critters that inhabit the park (hopefully a fox!), as well as the changes that will take place this summer with construction and the beginning of art installations.  We’ll be on hand to try and capture all the activity and of course snag as many artist interviews as possible for ArtBabble.  It’s not a bad time to wander out into nature with a video camera.

100 Acres, you should check it out sometime

Speaking of ArtBabble, we’re working very hard on growing the site and adding content.  From IMA’s perspective, that includes our own agressive approach to producing video content, which will focus on visiting artists, exhibition related pieces and a major documentary (more on that in a future post).  The broader strategy for ArtBabble is to grow engaging and innovative content from other AB partners.  This means more videos and more museums.  I speak for everyone at IMA when I say we’re excited about the new crop of organizations joining ArtBabble.

And if we weren’t busy enough, we’re also developing a handheld tour for the upcoming Sacred Spain exhibition.  This handheld experience will function on an iPod Touch and will be available at the IMA during the exhibition.  Charlie, Ed, Matt and Rob have all been busy developing the framework for the application itself.  For most of the summer, we will be working very closely with curatorial, education and design staff to develop and shape the visitor experience of this handheld tour.  We will focus heavily on building connections to the impressive works of art in the exhibition by using video, audio, high res imagery and a couple of other tricks up our sleeve.  The main goal is not the technology itself (although I think it’s cool), but the content or stories we tell to help our visitors discover connections to the artists or their works.  It’s a process much easier said than done.  But much more on this in another post.  In the meantime, enjoy a current mock-up of part of the interface.

Early interface design

So, what are your summer plans?

The NEW On the Cusp

Back at the IMA, there’s lots going on, including an experiment with a motion activated bird cam in 100 Acres, our Art and Nature park.  We’ve been working with our Grounds and Horticulture staff for the past couple of months, trying to capture some of the wildlife on our campus.  In the upcoming year, we will see the construction of a visitor center and countless installations of site specific art.  We’ll be documenting all of this, as well as much of the natural environment.  Hopefully wildlife interacting with art.  In the meantime, enjoy the video below, which includes several shots, of – you guessed it, woodpeckers.

The Facebook/Twitter call to arms went surprisingly well and I got some ridiculous, funny, relevant and interesting suggestions.  Here are a few,  including…

• how about a commentary about Kanye West and his supposed status as an artist…
• how about “what is an online exhibition” we don’t talk about it but we should because physical ones are not always possible
• post ideas: what consistently surprises you at IMA / what’s your long-term plan / How have visitors responded / best project

So here are some of my responses.

how about a commentary about Kanye West and his supposed status as an artist…?

I’m not messing with Kanye.

how about “what is an online exhibition” we don’t talk about it but we should because physical ones are not always possible?

Online exhibitions are projects that make sense but aren’t often implemented.  The superb Vogel 50/50 program is an incredible concept and this site will become a great example of an online exhibition (it’s still under development by the National Gallery of Art) – but will beautifully pull together much of the 2,500 works of art from 50 States.  Tradtionally, the IMA focuses on physical installations of exhibitions.  New Media’s role in this is to provide interpretation online – working closely with curatorial, marketing, education and more.  Our focus is always on the story telling.   The curator is primarily focused on the actual installation.  But, there is room for more collaboration and new types of exhibitions to emerge, especially on the web.  Brooklyn Museum’s Click! should be a sign of things to come across the art museum field.  The possibilites at the IMA are endless, ranging from a traditional online exhibition of art not available in galleries, art too fragile too install, and other factors.  I’m most excited about the possibility of one day developing from scratch an online exhibition in complete collaboration with curator and artist.  We’ll see …but surely, the future of the online visitor/museum experience online will include more web-focused exhibition.  Right?

Vogel 50/50 site

what consistently surprises you at IMA / what’s your long-term plan / How have visitors responded / best project?

I most surprised that we keep coming up with ideas and that we have the freedom to implement them.

The long-term plan is to be brilliant at developing digital projects and content.  It’s hard to have a long-term plan in this field though, things change quickly and it’s a big mistake to assume that our visitors will buy into our plan.  Agility is essential.

The visitors that interact with us online have been overwhelmingly positive.  We want to interact more and hear from everyone – even if it’s not positive.

My top (3), favorite projects I’ve been lucky enought to work on at the IMA have to be – Roman Art from the Louvre Webisodes, Nature Holds My Camera: The Video Art of Sam Easterson, and ArtBabble.  Having said that, I could also easily create a Top-100 list.

Speaking of ArtBabble, check out the new section called Goodies, and have a little fun.

I’m signing off, but I would love to hear your input on anything in this post – online exhibitions, IMA projects, woodpeckers, ArtBabble Goodies, even Kanye.

First up was the Armory Show, which brought quite a few folks to New York last week. Like many, I have a conflicted relationship with art fairs. I continue to go to them, although the experience is a manic exercise in ambivalence: one is alternately perturbed by crowds of art socialites, happy to run into people one knows (which causes one to worry whether one is posing as an art socialite), worried the art might be decent but that the context is spoiling it, and elated and relieved when encountering a few strong artworks that stand out from the huddled thousands on display. I came away with the impression that much of the art presented at the Armory was decorative and generally uninspiring, although there were a few notable exceptions. I’m a fan of David Shrigley’s work, and there were a few good pieces on display at Anton Kern’s booth, including a most clever projected animation entitled Lightswitch (2007). Ronald Feldman Fine Arts played host to a witty boutique-within-a-boutique with Christine Hill’s The Volksboutique Armory Apothecary, for which the artist worked from behind a counter to dispense personalized remedies to the sundry ailments of visitors. I also had the pleasure of seeing my friend and accomplished video artist Lida Abdul, whose work was on view at the booth of Giorgio Persano Gallery.

Of the handful of satellite fairs also going on, I made it to Pulse and Volta (whose names sound rather ridiculous next to one another) and enjoyed poking around the booths with my most esteemed colleagues Lisa Freiman and Allison Unruh.

Much less fussy than the Armory, these fairs can be a great way to see good art by emerging and mid-career artists in a setting much less likely to induce the mixed emotions described above. At Pulse, the Parsons MFA Fine Arts program put curator Eva Diaz to the task of organizing the smartest of mini-exhibitions, in which she elected to show all program artists instead of a juried few. Small-scale artworks were displayed thoughtfully in an artist-built structure alongside the books the students were reading at the moment.

A most entertaining curiosity cabinet-cum-reading room. What I value most about going to fairs and seeing such a high volume of art at once is how helpful it can be in expanding nascent exhibition ideas. Say I’m interested in doing a comprehensive group show about pencil drawing since the 1980s, then I can learn of Paul Chiappe’s minute recreations of photographs through Madder 139 at Pulse and see excellent works on paper in The Drawing Center’s current exhibition Apparently Invisible by Michaela Frühwirth and Anne Lindberg.

On Thursday I met up with Danish artist Tue Greenfort, who lives in Berlin but is currently in residence in New York to work on a project for Creative Time. His work is currently on view at Peter Blum Gallery, and he and I are beginning to speak about the potential for a project in Indianapolis. Stay tuned for news of his visit to the IMA this Spring, which I am anticipating greatly. Lisa and I also had the pleasure of visiting Tara Donovan in her studio/home in Brooklyn (sorry no pictures! I got distracted and forgot), where we saw several stunning works on paper that are in development for an upcoming gallery show. We discussed with Tara an exhibition of her work here in Indianapolis in 2010 (hooray!) and spoke about all of the possibilities surrounding such a project.

Last, but not least, I visited the place that has been mentioned to me every time I talk to someone in New York about 100 Acres: The Virginia B. Fairbanks Art & Nature Park: SoHo’s restaurant Hundred Acres.

I mean, it’s delicious and all, but it’s just not as pretty—or as full of innovative art installations—as our developing project. And we come by our name fairly, legitimately covering 100 acres of woodlands, wetlands, meadows and a 35-acre lake, which I must admit I was happy to return to at the end of my trip.

The first in-house video I worked on at the IMA was re-editing an African Pottery Techniques documentary shot in Burkina Faso.  At the time, it was a pretty big step for the museum – to actually do this in-house, quickly, easily and for free.  When I compare that to our latest  video release on Orly Genger’s installation “Whole”, I kind of laugh.  We shot this video in HD, incorporated Time Lapse, used a lift for certain shots and then published to YouTube.  Check it out below.

My colleague Dan Dark recently recorded the Christmas at Lilly House tour with the LH Director, Bradley Brooks in an afternoon.  Dan then finalized and edited in the space of a few hours, then uploaded it to our Guide by Cell account.  Visitors to Lilly House can access this content by using their cell phone. Our first Christmas at Lilly House involved a lot more time editing and recording, and incorporated the Dell DJ Ditty mp3 players.  I am actually laughing….but it worked at the time.  We plan on increasing our audio content across all of IMA’s collections in 2009, and I am incredibly excited about some of the concepts we are planning.  But I can’t discuss those yet…

imamuseum.org/blog is almost a year old.  It’s been a really exciting year for the blog with some superb posts from all over the museum.  I’m proud when I think that internally, the IMA supports a variety of areas blogging.  Where else can you go and hear directly from conservation, security, horticulture or an artist duo?  We’ve come a long way from the Felix Gonzalez-Torres blog (did anyone ever see that?) we setup a few years ago, and our imamuseum.org drupal based blog just a year ago.  Sometime we get it wrong.  Sometimes we get it right.

I’m also reflecting on past projects because I can’t quite share some of the upcoming projects in 2009, yet.  I’m dying to, and the second I can I will post.  The main change in the digital content we produce is an increased focus on the contemporary world.  The Toby, Contemporary department as well as the opening of 100 Acres in 2009, presents access to cutting edge artists, performers and academics.  That means content opportunities that will become audio guides, videos, and web projects.  It’s gonna be a big year, and we plan on making ‘09 the best for the museum visitor and technology-focused experiences.  It’s all about keeping the momentum.

And in closing, this is Despi’s last day at the museum.  She’s been an integral part of the IMA and New Media, a dedicated professional, supportive colleague, and more importantly, a friend.  Best of luck Darnell!

Danny Beyer, sporting the new IMA Blog t-shirt

The IMA joined Flickr a little late in the game, but I feel like we are really starting to use it in some interesting ways.  My colleague Despi recently created a set featuring the new IMA blog t-shirts.  You’ll be hearing more about that.  Our conversation department has been active creating individual case studies on art objects.  You can learn about a recent Thornton Dial acquisition here (complete with video), or the treatment of a Saarinen Sideboard.  It’s an interesting glimpse into some behind-the-scenes action at an art museum and a new way of discovering engaging content.  Look for more of these conservation case studies in the very near future.

2009 will bring lots of activity to the IMA, especially in 100 Acres: The Virginia B.  Fairbanks Art and Nature Park.  The Nugget Factory will be working very closely with the contemporary department to document the art installations, capturing artist interviews and developing new visitor experiences.  On Flickr, we created a set dedicated set to Type A’s involvement in this space, here (I recommend the videos).  Under development, is the official 100 Acres Flickr group.  We’re still tweaking it, but please feel free to join and contribute your photography.

IMA’s Horticulture department was kind enough to place some new signs across the beautiful IMA campus.  We often spot photographers walking our grounds and we would love to see their perspective.  I hope these signs encourage or inspire our visitors to go online and shape IMA’s presence on Flickr.  I mean that.

We really want you to get involved in Flickr

IMA blogger Noelle, also just completed a Flickr article in PREVIEWS, the publication for members of the Indianapolis Museum of Art.  I told you we love Flickr, perhaps a little obsessed.  If anyone is interested in a copy, leave a comment and I’ll send you one.

And finally, Museums and the Web will be hosting their annual conference in Indianapolis next April.  They’ve created a group requesting images of Indianapolis.  It will give conference attendees from all over the world (Australia, Japan and Holland) a chance to discover our city and check out the new airport.

I’m all Flickr’d out.  Have any Flickr ideas?  Let me know.