My first Pecha Kucha night, enjoyed from the squishy goodness of a giant red comfy sack in The Toby, was  like no other PowerPoint presentation I’ve been to. I left feeling inspired and liberated (since profanities could be shouted or whispered freely at any point). I’m definitely experiencing culture these days, maybe due to a motivating post by Meg. It’s true–as a marketer, and as a resident of Indy–we should all be experiencing the amazing galleries, games, plays, concerts, trails, architecture and exhibits offered by our friends. But why not also ask ourselves how as individuals we can create culture?

Matthew Hale, life-long resident of Indianapolis and graduate of Herron School of Art & Design, pitched his idea to make Indy a cultural landmark at the recent Pecha Kucha Night. “Letteracks: A 3D map for Indianapolis” is a coordinated system of 26 giant letter bikeracks, one for each letter of the alphabet, designed for the regional center of Indianapolis. The options for the use of these letteracks are endless–from field trip and jogging destinations to wayfinding and photo ops. Letteracks would add a unique system of nationally recognized landmarks to our city and increase the cultural language so-to-speak of the people in our city.

"Letteracks: A 3D map for Indianapolis"

While Matt didn’t win the $10k PK prize (in my opinion, he should have), his idea speaks to the idea of creating culture on a large scale. On a much smaller scale, as a child, I was a ballet dancer, I painted Tiger Lillies by the mailbox, I played the piano, I wrote poems and stories, I sang “Billy Boy” on the swing set, I planted mounds of pumpkin seeds and sunflowers in my garden, I took portfolios of pictures after a heavy snowfall, I read. Today, I rarely make time for these renewing acts or share them. What would Indy be like, if we each brought our own light and talents to our family, neighbors and city? What if we didn’t passively absorb culture, but actively created and shared it?

I heard an artist speak on the topic about a year ago in a sun-drenched gym on the Old Northside. “Do you have a picture to paint? A book to write? A dance class to take? Are you needed by someone?”

We should all have our day in the comfy sack, but I’m going try to make more time to create, converse and inspire.

Wilber in his comfy sack

]]> http://www.imamuseum.org/blog/2009/11/18/creating-culture/feed/ 4 http://www.imamuseum.org/blog/2009/10/28/cokefaceliftsandbrands/ http://www.imamuseum.org/blog/2009/10/28/cokefaceliftsandbrands/#comments Wed, 28 Oct 2009 13:21:23 +0000 Meg Liffick http://www.imamuseum.org/blog/?p=9133

Image Courtesy of Freefoto.com

Soft Drink. Pop. Soda. What do you call that sweet, fizzy drink that comes in cans, out of fountains, and sometimes in bottles? I call it coke.

In Southern Indiana where I grew up, a Sprite is a coke, a Dr. Pepper is a coke, and a Pepsi is also a coke. The Coca Cola brand has resonated so much in my hometown that it has become the generic term for the entire category of product. Coke is in good company. Kleenex, Xerox, Google, and even Q-Tip have all created such strong brand identities that their trademarked names are now nouns. (Definition of brand identity.)

Brands like Coca Cola appear to be every marketer’s dream. They seem to need very little advertising and messaging. However, the truth of the matter is that Coca Cola still spends millions of dollars every year on tv and print campaigns for Coke Classic. So what’s up with that?

Like lawns, buildings and cars, brands need maintenance. No matter how great of a brand a product or company has, it needs to be updated and rearticulated in order to resonate.

In 2009, Coca Cola launched a beautiful, if slightly strange, series of commercials featuring bucolic fields filled with young people and singing, furry creatures. The tagline: “Open Happiness.” In a time of recession and war, the ad communicates that sipping a coke will lead to an imaginary world filled with smiles and giggles. Pretty simple. Very timely.

Like Madonna, Coca Cola is great at reinventing itself for the times. During the 1980s, responding to the end of the Cold War and inspired by the Reagan administration, Coca Cola launched their ultra American campaign. “Red, White, and You.” This is the 1980s at its best – patriotism and tight-rolled jeans

Learning from mistakes of the past (ahem New Coke), Coca Cola focuses on maintaining the quality of the product – the essence of their brand identity- while concurrently aligning their advertising to the changing times. Just like Joan Rivers, every few years the product gets a facelift.

So what do Coca Cola Classic and the IMA have in common?

Well, if you haven’t seen it already, the IMA is undergoing it’s own facelift or brand refresh. Over the course of the next few months we’ll be transitioning from our old brand identity:

to our new:

The IMA is a dynamic organization with a lot going on. We hope that the new look and feel of our brand will communicate the energy of the museum. Like Coca Cola, we know that the classic formula is always the best. So while the marketing may change a bit, the IMA and its mission will remain the same. We’ll still have over 50,000 works of art; we’ll still be free to the public; and we’ll continue to inspire creativity through art, nature and design.

All of this talk about brands got me thinking…What brands do you think are the best? Are there examples of museums with great brands? Let me know your favorites.

We enjoyed the peace and quiet of our little haven as the rest of the museum toiled away inside the big building yards away. For the first few months it seemed ideal. But as I spent more time in the cottage bonding with my department, I realized that I had met very few of my colleagues in other departments. More remarkably, those colleagues barely knew the members of the marketing department (some had been on staff for several years). It slowly became apparent that our insulated, cozy existence had led to misunderstanding and turmoil between our department and the rest of the staff. The physical separation was also a cultural separation. We were seen by many as the “others” – a department that utilized “corporate” strategies and in turn, diluted the artistic mission of the IMA.

Despite the unique physical separation, we were not unique in our department’s divide from the greater organization. Rifts between marketing departments and other museum departments occur frequently. Last year, I was reminded of this during an email conversation with a well-respected colleague at another museum. As part of the exchange, the person referred to marketing as “anti-community.” I have to admit, the phrase shocked me. I had never received such a blatantly negative response to the work that I do. I was crushed. I don’t think it was intended to be a personal attack, but I took it to heart.

As in many cases, I think the negativity was due to a lack of understanding about what marketing is. While we are hired for our talents in communicating with the public, often marketers fail in how we communicate with our fellow museum colleagues. Just like my early days at the IMA, we can become isolated and comfortable operating within our department and fail to reach out to the greater museum. Some of us need to make a better attempt at understanding the collections side of the operation. We also could to do a better job of teaching our peers about how and why we serve the mission.

Through my new series of biweekly blogs, I’ll attempt to do just that by sharing my daily experiences as an arts marketer. Over time, I’ll tackle questions such as: How do campaigns get created? How do we collaborate with other departments to accomplish our work? What are best practices in the field? What challenges do we face as we work to promote the museum? Who is our audience, and how do we engage them?

In the meantime, if you have any questions about marketing at the IMA, please ask. I’m happy to share.

But it’s not only individuals using these sites. Here at the IMA, as most of you know, we embrace social media as a useful tool in reaching our audiences and fulfilling our mission. And we’re not the only ones – LACMA, SFMoMa, and Walker Art Center are just a couple of our peers actively engaging online audiences. Even the Art Institution of Chicago recently announced here, that they’ll soon be launching a Twitter account.

But as museums and museum employees continue to grow their online activity – both personal and institutional – we’re faced with the challenge of exploring policies and guidelines online activity. Should there be employee policies in place for personal use of such sites? Should museums implement a clearly detailed policy for institutional use of such sites? And if so, what would either one of these policies look like and what purposes would they serve?

In researching the topic, I can tell you for sure that there are several people asking these questions, and I can also tell you that nobody really seems to know the answers.

So what are some of the issues to think about? Well, there are a lot of them. Museum 3.0 suggests the following issues are all important in considering your strategy to online networking: technical concerns, how to archive online museum activity, implementation planning, policy development, training, and a how/why to guide for media sites.

Museum 2.0 blogger Nina Simon discusses what might be included in a social media handbook. Her list includes things like rules on what should or should not be shared, how get a new initiative approved by your manager, what is considered appropriate for internal and external distribution, and a reference guide to social sites that would include recommendations, stylesheets, etc.

While I think these are all important items to consider, I can’t help but wonder if some topics should just be covered in ongoing discussions instead of binding them into a manual. Why? Well, by the time a policy or manual was organized, there’s a pretty good chance that the certain components (like a ‘how to guide’) would already be obsolete. In other words, the web changes so much that consistent updating might become a daunting task.

Three seemingly stagnant issues that I see as most important in policy making or strategic planning for social media include: information release, content quality & content control.

Information Release – A problem might arise here when someone inadvertently releases sensitive information about the museum. An example of this might be tweeting in excitement that a new acquisition has just arrived to the dock (which might jeopardize the safety of the work), or announcing an event on your facebook page before it’s been announced by your museum. This issue is one that might arise more frequently when an organization’s employee is using a personal account that wouldn’t be filtered by a colleague. The question to be asked here is: should museums tell their employees what they can and can’t discuss on their personal sites?

The release of certain information can also be a problem even on an institutionally controlled site. For example: Let’s say Daniel, our New Media Director, comes back from Spain next week and blogs about something regarding an artist in an upcoming exhibition that he interviewed. Let’s also say that the curatorial department was waiting to release that information for whatever reason – we might have ourselves one unhappy curator, or even worse, maybe an unhappy artist. (With effective communication amongst departments, this issue should not be as difficult to manage as the issue of personal Facebook, blog or Twitter accounts).

Content Control – With so many departments/individuals managing various sites and social network accounts for the institution, who’s the gatekeeper of information? For example, if multiple writers are contributing to a blog (as is the case here at the IMA) how do you filter or should you filter content? Is there someone that gets final say on what goes up where?

Content Quality – Because it’s so easy to post things on the internet and incredibly cost efficient how does an institution refrain from overloading their audiences? Even worse, how do we keep from putting up information (that might not be very good or insightful) just because we can? Here is a short post by Matt Yglesias that suggests that while non profits are increasingly enjoying the captivity of online audiences, the quality of information on the web is a growing problem.

Like most everyone I have come across, I do not have answers to all of these questions nor do I have a suggested policy or manual. But I will leave you with some additional links that I have found useful in the discussion of social media and museums.

IMA’s Blog Guidelines – which is posted directly on our blog.

Powerhouse Museum’s 2007 Blog Policy

BBC’s social media policy – this is a good example of a fairly extensive policy.

Brooklyn Museum’s Shelley Bernstein discussed various ways to use social media sites in Where Do We Go From Here? at the 2008 Museums & the Web conference. I would be shocked if the topic of social media policies were not discussed at M&W 2009, which is here in Indy, next week.

And finally – On the lighter side, this article entitled The 14 Types of Twitter Personalities might help you pinpoint some possible problems or areas of concern for your workplace.

The campaign includes Russian Communist inspired artwork on limited-edition bags, window displays, catalogs and an in-store presentation, all hitting stores on March 12.

Saks' Spring campaign

The campaign is inspired by the bold graphic designs and propaganda tone of Constructivist art. Though a controversial move, Saks sure could use the attention. The luxury retailer has felt the recession’s sting, recently announcing a $98.8 million loss.

Smart move, Saks. After all, Fairey has developed into one of the most influential street artists of our time. Despite the cloud of controversy surrounding him, his work can now be seen in museums and galleries, graphic design, signature apparel, and now: your favorite upscale department store.

Shepard Fairey

Terron E. Schaefer, the senior vice president of marketing at Saks recently said, “What we do every day, really, is propaganda.” Read the whole article at NYTimes.com. Pretty fierce stuff, but this could definitely be seen by Fairey’s fans as a major sell-out move. What do you think?

Obsessed with well-designed packaging and everyday objects? Check out some related links I found:

• The Dieline is chock full of fresh ideas in package design. From the latest soda bottle concept, to clever music packaging- critique a design or suggest your own.
  

  Wine bottles by Let it Grow

• Looking for a chic fly swatter or watering can with as much form as it has function? Check out the new Design Center online or here at the IMA.

Dr. Skud Flyswatter- $20

• On May 14^th, you can meet film director Gary Hustwit (Helvetica) and see his latest documentary, Objectified,  about the creative process of product design. The film features designers who shape our manufactured environment and our interfaces with mass-produced objects including the people behind IKEA furniture and the iPod.

Objectified movie poster

As of this month, at the ripe old age of five, it’s ancient in Web 2.0 terms. But for being a senior citizen of the web, Facebook sure has managed to stay fresh and relevant. What started as a social experiment in Mark Zuckerberg’s Harvard dorm room has grown to capture over 150 million users.

icanhascheezburger.com

Here are some ways Facebook has managed to grow and adapt so far…

-  its supernatural ability to help you reconnect with old high school buddies, network  professionally (ahem), plan killer bashes, and showcase your wit via status message

- the ever-growing collection of third-party Facebook applications, integration with Twitter, built-in Instant Messaging, blog importation capability, and more

These all allow users to express themselves in a rather addictive way.

Here at the IMA, we utilize Social Networking to reach a more diverse and (presumably) younger audience.  And, like any institution, we are always looking for ways to stay fresh and relevant.

However, TIME ’s tech writer, Lev Grossman makes a humorous argument as to why Facebook is for ‘Old Fogies.’  After all, Facebook’s fastest-growing demographic are those 30+. Could this be the kiss-of-death?

Illustration by John Cuneo for TIME

Others are predicting Facebook’s demise. Blogger Devin Johnston argues that unless Facebook changes drastically, it will fizzle out in just three years.

Sites like Facebook are doomed unless they radically alter their business and development models to reflect the needs, interests, and capabilities of internet users. There is room for Facebook to move away from providing service and toward assembling the services of others in a single location. Frankly, I think that this is the only way that Facebook will survive the coming revolution in social computing.

That’s a lot to ask of a five year old.

Do YOU think Facebook’s days are numbered? Will it continue to adapt, or be wiped out by something better-faster-stronger?

My first impression of StumbleUpon was that it is a fun tool. Before I had it figured out, (you do literally stumble around for awhile), I spent at least an hour in MoJoe’s looking at animals in love, making snowflakes, gawking at street installations in Washington, D.C., and oohing and awwing over some human creative painting. Most of the reviewed and rated sites are novel — odd and wacky, interactive or display amazing talent.

So how can the Museum world use StumbleUpon? The online community has a specific Arts category and a page of Web content tagged with the term “Museums”. These are places to surf what other Museums are producing. Moreover, it has perfect potential as a platform for viral marketing if you have enough friends or a brilliant idea with a long shelf-life. Last week, the American Chronicle published “Twelve Ways to Promote on StumbleUpon” spelling out relatively simple techniques to getting your site recognized. My favorites include emailing sites to friends with the easy-to-use StumbleUpon toolbar, reviewing sites and requesting others review yours, and blogging.

The future of StumbleUpon may be uncertain with eBay’s recent downturn and its decision to seek a buyer for StumbleUpon. With 5 million users verses Facebook’s 100 million, I’m not sure its popularity will ever warrant the same focus from marketers. Until it’s clear, I’m happy to keep stumbling. How do you feel?

You can Stumble any of the IMA’s blog posts by clicking the icon on the far right after each entry.

Okay, what kind of blogger or marketer would I be if I actually did that? Recently, I’ve been pondering the possibilities so-to-speak. After reading Richard’s insightful post on the use of Twitter in museum conservation and then spotting Nick Brien’s article, Strategic Thinking 3.0, in ADWEEK, my fingers have been set on the keys with no clear song in mind. I’m overwhelmed by possibility. Sometimes it is comforting to have boundaries to narrow and contain one’s scope of thought. But in the coming years, I am not sure we will have that luxury because of technology.

Picking from Brien’s general media forecast for 2009, I would like to apply several of his predictions to the arts and the IMA in particular:

1. Digital media enables easier marketing access. Have you heard of Web 2.0? These tools are booming in the arts sector. With limited budgets and expertise, groups like dance companies and symphonies are using blogs and other tools to market to wider audiences with a direct focus. See the San Francisco Ballet Blog. How about providing digital perks for members? As I mentioned above, the range of tools is just going to become more expansive. At the IMA, I think our challenge will be to use these tools wisely. And with our crack team of Web programmers, designers and Nugget Factory, maybe we will push the limits with a few of our own.

2. Marketing means selling. Performance is always important but not always measurable. At the IMA, you have ads in the Star, on the radio and on billboards, while at the same time you’re sending out evites, traditionally mailed invitations, Facebook notifications and blog posts…you don’t even remember where you first heard about the event. While we try to capture this type of data as well as attendance on the IMA’s Dashboard, it’s worth faithfully tracking and rejecting the tools that don’t produce desired results.

3. Collaboration drives integration. This has been happening at the IMA for as long as I’ve worked there (more than a year). When Marketing, Development, New Media, Education, Curators, MIS, Horticulture and many others come together, it’s hard to tell who belongs to who. Diverse personalities and backgrounds allow for anyone to bring an idea to the table that may become the next golden nugget. Cross-departmental collaboration is key.

4. Data drives decision-making. Amen. I think this repeats #2 in making time for evaluation and being bold enough to let the data drive change rather than trying to do it all.

5. New players bring new perspectives. Both international and local competition in the arts and Museum world will awaken us to new thought and possible collaboration. Read our blogroll to check out what everyone else is up to. The IMA’s Professional Development team (which is cross-departmental by the way) is planning a staff exchange program with other institutions for just this purpose.

6. Social networks enable better listening. We’re working on this one. Through polls, comments, rating options, calls for user-generated content and social media applications on Facebook, the IMA is hoping you’ll talk to us. We truly desire a conversation and “raw” feedback on the material we are providing. Having this conversation can be difficult for an organization without a single representative or without time devoted to personal response.

7. Mobility matters. I predict we’ll see increasing opportunities for on-site interactivity inside and outside (think 100 Acres) the IMA galleries. The Newseum in Washington, D.C., does a nice job of creating popular and educational user-experiences in exhibitions with mobile devices.

So those are my current thoughts, which are not very well thought out because I’m busy trying to keep up with it all in real time. To speak to the IMA’s collection, you could say I’m just a girl at the piano recording sound.

The Kimpton Hotel brand seeks to give each of its hotels a unique personality and story for visitors to enjoy. Hotel Palomar in particular focuses on “Art in Motion” by providing rooms with sleek sophisticated, artsy design, kids’ art supplies and games to awaken creativity and nightly wine receptions at which artists often speak arranged through a partnership with the Smithsonian and Phillips Collection. In fact, the hotel staff has been trained by the Washington DC ballet “to serve you with the utmost grace.”

Talk about an infusion of art. But is that what visitors to the nation’s captial really want? Made up of mostly tourists, perhaps a more historical experience like that of The Westin Embassy Row or a family-friendly stay might be more appropriate. Personally, I found mornings where I craved my Holiday Inn “continential breakfast” and the challenge of cramming donuts into an ice bucket. Maybe visitors want to spend their time exploring art out in the city rather than in the hotel.

No doubt, art is an egaging way of marketing hotels with a unique selling point and seems to hold much possiblity both nationally and locally. Have you had an artful stay lately?

After a look at The Awakening sculpture, recently moved to the site from Hains Point, and a stroll around the rather deserted shops and convention center, I came upon Art Whino. Brimming with interested faces, this art gallery seemed to have all the attention of the harbor’s visitors. The current exhibition, Inked Souls, is an artist collaborative of canvas pieces on the wall each paired with customized Tagur sneakers by the same artist. (Tagur in and of itself is a blog post.) In this case, the footware company and Art Whino teamed up to give artists the opportunity to paint the Tagur AKA Blank model shoes. Then Tagur responds to the crowds’ reactions by producing a line of shoes with the most popular design. You can even buy your own pair to paint and send a photo to the company for consideration. According to the Tagur brand motto, the customer becomes the producer.

Art Whino knows how to take chances in marketing, moving from its location in popular Old Town (Alexandria, Va.) to its new National Harbor location, just outside of Oxon Hill, MD. Collaborating with companies that give their visitors a chance to interact with the art is a smart move. I even spotted local Indiana artist Emma Overman’s works near the front of the gallery.

Maybe it was the painted kicks that drew a crowd or the shared experience of witnessing and being a part of something creative and “soulful.” Regardless, locating an art gallery or museum in a developing area can not only prove commercially sucessful but also serves as a welcoming place of community and excitement.