Saying that transparency is a “good idea” is not enough to address concerns that many museums have about sharing  information in this way.  Today, we’ll spend some more time examining a few reasons why museum administrators should seriously consider an open approach to transparency as a strategic choice in running the museum.

Again, please chime in with thoughts / questions / analogies / etc…  Your thoughts really add to and enrich the conversation.  Do you think this would work in your museum?  What would be the biggest concerns that would arise?

Reasons for Transparency: The Internet Will Out You

Since a common counter argument to efforts for Transparency is the impact of information sharing on the museum’s brand and reputation, it is useful to explore this in the context of today’s realities. Seen initially in the rise of the blogosphere and more recently in the emergence of micro-blogging and real-time search, the pace of information creation and the ease of access to this information has changed the ways in which a museum’s brand and reputation are perceived in the media and online. The advent of the real-time web means that the invested public frequently has as much input into a museum’s online reputation as media professionals do.  An increasingly information-savvy audience is becoming more and more sophisticated in their ability to decipher fact versus spin as they surf this info-sphere. Author Clive Thompson highlights the impact of these facts on Transparency in his article for WIRED Magazine,

“But here’s the interesting paradox: The reputation economy creates an incentive to be more open, not less. Since Internet commentary is inescapable, the only way to influence it is to be part of it. Being transparent, opening up, posting interesting material frequently and often is the only way to amass positive links to yourself and thus to directly influence your Googleable reputation.”  - Clive Thompson, “The See-Through CEO”, WIRED Magazine – Issue 15.04, March, 2007.

This reality is not restricted only to government and for-profit corporations to deal with, but in fact, has already reached deeply into the way that museums and non-profit institutions operate in modern culture. “There is no outside world anymore, just a world–one that is blogged, Facebooked, Twittered, and utterly porous. The extent to which we can control our image is directly proportionate to our honesty about ups and downs in a context that we can to some degree define” points out Maxwell Anderson, The Melvin & Bren Simon Director and CEO of the Indianapolis Museum of Art.

A common reaction and perhaps our gut response is to see Transparency as just another public relations tool which can be employed to enhance an institution’s brand and reputation in the public’s eye.  While efforts in Transparency can have a positive impact on a museum’s reputation, that’s not the point says Anderson, “To view a dashboard primarily as a PR tool is to miss entirely the point of Transparency, which is to influence contemporary organizations to act with greater responsibility.“ Likewise, author Thompson points out that, “Putting out more evasion or PR puffery won’t work, because people will either ignore it and not link to it – or worse, pick the spin apart and enshrine those criticisms high on your Google list of life.”

Reasons for Transparency: Impact on Mission and Performance

“I don’t think it’s entirely a coincidence that, at a time when new media technologies are changing the rules of journalism, companies are placing a new emphasis on Transparency. Access to, and distribution of, information is being rapidly democratized and smart companies know to get out ahead of this trend. However, as with many corporate buzzwords (e.g., “quality” and “innovation”), the concept is suffering from inflation as too many companies claim “Transparency” as part of their identity without really walking the talk.” -Mark Hannah, “Transparency as a Principle not a Tactic”, PBS.org, January 7, 2009

It is a natural tendency to promote what is good about our institutions and hide what is not. As professionals, we’ve been conditioned over many years to treat the internet as just another communications medium, but in fact it’s not.  What does it take for a museum to begin the adoption of transparent methods and attitudes without falling into thinking of Transparency as just another PR tool, and what are the advantages of this strategy that might compel institutions to make the leap?

Museums are mission-driven organizations. For a museum, success cannot be measured in financial terms alone.  Sometimes – in service to our mission – museums make decisions which would play very poorly on Wall Street. However, these very decisions are those that set us apart most clearly from the for-profit world and offer us a chance to communicate with our constituents about our mission and about the unique and important place museums hold in our communities.

It is safe to say that museums spend large amounts of time and money every year on strategic planning – and for good reason.  A healthy and vibrant strategic plan is an invaluable tool to use in divining which activities we should pursue and which we should not.  The choices we make about which activities to forgo often say more about our strategic purpose than those we choose to pursue.  A common thread among many museums seems to be an addiction to an over-abundant array of worthwhile programs and activities. Solid strategic planning helps us focus activities on those which will achieve a measurable impact for the mission of the institution and result in long-term progress towards those stated goals.

Museums face difficult challenges when trying to measure whether or not they are being successful.  Success cannot be measured solely by the size of their endowments, attendance figures, or recent coverage in the press. Unlike their for-profit counterparts – where profit/loss statements can ultimately separate the winners and losers – a museum’s success has much more to do with achieving its mission and its degree of impact within the community.  Defining what success looks like and the establishment of benchmarks for comparison is absolutely vital to achieving a continuous improvement to goals and success over the long term. In his 2004 paper entitled “Metrics of Success in Art Museums”, Maxwell Anderson points out that “The root of the problem is that there is no longer an agreed-upon method of measuring achievement” and proposes several sets of measurements by which museums might gauge their success over time. Of course, the task of defining and agreeing on common metrics to be used across institutions seems to be a daunting task, however Anderson highlights the fact that, “While many challenges beset art museum leaders today, finding a way to measure performance is accordingly among the field’s most urgent.” and, “Without generally accepted metrics, arts organizations will have more and more trouble making a case for themselves.”

Choosing such a set of primary metrics for your institution can help to clarify and codify the relationship between your organization’s mission and its strategic plan.  These conversations are perhaps the most important discussions that could possibly be had among senior management executives and board members. As Andrew Taylor points out in his blog the Artful Manager,

“Of course, such systems [dashboards] raise a rather vexing challenge: what, exactly, are the few key indicators you would need to watch to monitor your success? It’s this question that actually proves to be more effective than the dashboard tool itself. To know what you should monitor, you need to know what you’re trying to do, and you also have to define what success looks like (more people? happier people? more art? better reviews? prolific artists?).” - Andrew Taylor, “Keeping an Eye on Dashboards”, The Artful Manager Blog, October 20.

It is important to note that this is a point at which the notion of Transparency and Metrics of Success in your museum are very closely related.  Anderson’s paper makes a convincing argument regarding the measurement of those efforts which are the most important to meeting our mission objectives.  Furthermore an establishment of appropriate metrics and benchmarks can have tangible benefits for museum operation.  Author Jason Saul illustrates this point in his book on benchmarking for non-profits,

“Thus, benchmarking has many direct and indirect benefits: increasing the impact of mission-related activities, raising internal standards, improving performance, attracting more funding, uncovering (and fixing) hidden weaknesses, and overall, improving the public face of the organization.” – Jason Saul, Benchmarking for nonprofits: how to measure, manage, and improve performance (Fieldstone Alliance, 2004) pg 12.

If these benchmarks or metrics are indeed the key drivers of our success, is it not also the case that these are the same facts and figures we should be making available to our constituents? By so doing, we begin to build an ongoing trust based on measurable fact and open a door to rational and informed conversations about why continued support of our museum is so vital.

Unfortunately, choosing the statistics and deciding to share them is not enough. Our museums are composed of an amalgam of individuals from many different social, educational, and professional backgrounds. Many of whom are extremely intelligent and passionate about their service to our institutions. Their daily choices, attitudes and activities are required to actually put these strategies and metrics into action and achieve the institution’s mission.  We cannot succeed in achieving our mission without the buy-in and understanding of these key staff members.

Hey, you get to hang out with me.

Draw back you say? Yes.  We spend so much time interacting online, we never actually meet the people that read this blog, watch our videos, follow the IMA’s main site, or follow our tweets.  There’s a disconnect of sorts and it’s something we struggle with constantly.  We produce digital content to enhance our visitors experiences with art, artists and exhibitions.  A lot of these people may never visit Indianapolis or the IMA.  But what about our local audience?  We care, we really do.

All museums care.  And some are doing a great job of bridging the disconnect between the online and physical relationships.  The ever impressive Wexner Center in Columbus, OH (my old stomping grounds) has been heavily involved in their local Social Media Cafe.  Brooklyn Museum has pioneered the new model for museum membership with their 1stfans idea – a socially networked membership that brings visitors in to the museum. And the Mattress Factory uses Twitter brilliantly to uninstitutionalize an institution.  Wex, BM & MF are heavily involved in new media projects and publishing online – but they too have addressed the same issue we’re contemplating – it would be great to meet some of you.  (If there are other museums addressing this, I would love to hear from you).

So if you’re free this evening, stop by the IMA.  You can meet some of the museum staff, listen to some music, grab a drink and if you really want, try out our new iPod Touch guide.

TAP into Sacred Spain

Did you think I wouldn’t end by mentioning some technology?

X-Ray of the Virgin of Guadalupe

Way back in September, Charlie initially wrote about TAP, giving our readers an early look at the software.  The application is designed to be extremely flexible, meaning that we will be reusing TAP for future exhibitions both inside the museum and conceivably outside.    Although the IMA attempted a multimedia guide back in 2005 for the American galleries (does anyone remember this?) – this will be the first time we’ve attempted this type of visitor-focused experience for an exhibition. And to think, the entire software development and authoring, content production and implementation was done entirely in-house (check out the video below for a closer look at TAP).

When it comes to new media production, a lot of footage and content goes unused in the final product.  In the case of TAP – we shot and recorded hours and hours of media for the tour.  Once it’s all edited and fine tuned, it boils down to about a 90 minute experience.  What happens to the hours of unused material? This brings me to Easter Eggs.  We wanted to provide some surprises in this tour and make use of content we ordinarily wouldn’t use.  In some ways, Easter Eggs are similar to a cameo by Alfred Hitchcock.  They are little surprises or experiences that were created to augment the real or planned experience.  In the technology sense, they are intentional, additional pieces of content that are hidden, hard to find – but the in the end, result in a funny or unexpected discovery.  What will you find?

The hidden location!

You won’t find Alfred Hitchcock on TAP – especially since he once said “Always make the audience suffer as much as possible” - but you will be able to locate secret 3-digit codes that will lead to you new stories.  How do you find these Easter Eggs?  Well, you can surf around HERE or come to exhibition and investigate.  You might find something – are you up for the challenge?

MSTD A414 / A514: Museums and Technology (3 cr.) This course surveys the growing use of technology in museums. It examines applications for information management in collections, conservation science, and archives. It examines critically the use of technology in the service of education both in exhibit contexts and in the variety of educational programs and web-based dissemination of knowledge.

(I would normally put an image here, but I don’t have a good one.  Instead I’m going to plug our latest video, a trailer for our next major exhibition Sacred Spain: Art & Belief in the Spanish World).

Back to the real point of this post.

I’m working on the syllabus as we speak.  For some time, I’ve been mulling over the basic shell of the class and now is the time for action.  I’ve had plenty of ideas revolving around case studies, online publications, blogs, videos, and much much more.  But mostly, I’ve been struggling finding an acceptable balance between theory and execution.  I have respect for both sides, but I would definitely characterize myself as an implementer.  In plenty of blog posts I’ve mentioned launching or publishing incomplete projects (or rather, works in progress) and tried to communicate that mistakes happen, and it will be okay.  So I think one of my challenges will be finding the right balance between the two and communicating that effectively.

Without giving too much away, I do want to share some of the approaches I will be using in this class -

• Readings – online articles, publications, blog posts, tweets, you name it…
• Digital Case Studies – Online exhibitions, Web sites, blogs, Flickr, Twitter, videos, and more
• Usability Analysis – How well do some museum produced digital projects work?
• Live manifestation of class work (whatever that means) – something along the lines of what Nina Simon did for her Social Technology class.
• Guest appearances – Kind of like Arrested Development, but featuring experts from the field of Museums and Technology and content specialists from the IMA
• A Real Project – Students will create digital content proposals for a major upcoming IMA initiative.  If selected, students will get to work directly on that project, publish it and receive full credit for their concept.
• Internship! – That’s right, one lucky student gets to intern at IMA’s Nugget Factory (New Media).  Kind of like a reality show.

So, I’ve really not given anything away.  But if you think there is one site, article, video or project out there I MUST cover, please let me know. And, Museum Studies students, museum colleagues, blog readers, tweeters, and more – anything you’d like to add?

From Flickr user SillyFrog

I went upstairs to see the Adaptation installation, and was immediately drawn to the unassuming Herrera exhibit, “Les Noces”.  It presents itself from outside as a placard and a pitch dark walkway leading into the unknown from which emanates the intense singing and occasional screaming of a Stravinsky scored ballet.

Hearing the unmistakably Russian 20th century music with tall chords and harsh brutal sounds, I was intrigued, but the video installation was so well protected from outside light that I was afraid I’d walk into something.  Honestly, I was simply afraid of the whole exhibit, and I turned on my heel returning to the light of the museum.  I eventually had to psyche myself up to enter.  My initial experience of the piece was unsettling not least of which was due to my body adjusting to the levels of adrenaline my system released simply walking through the light trap.

Source image from Arturo Herrera’s two-channel digital projection Les Noces, 2007. Courtesy the artist and Sikkema & Co.

The music was harsh. I found myself wondering who performed and conducted the recording that was blasting through the room.  The vocals sounded intentionally raw, and it added to the discombobulating effect of two screens each displaying two images per screen with bits of photography and drawing projected onto either end of the room without direct connection to the music being played.  Here was an adaptation, the substitution being the constant animation of squiggles and what might be Bullwinkle the Moose’s right arm and torso rather than the dancers on a stage. Instead of viewing the performance as a member of an audience in a group of people organized in orderly rows the performance surrounded me, the single viewer.  This created a personal experience, one that was both meditative and jarring.  The abstract images lent themselves to individual projection.  I watched the piece and listened to the music and simply experienced what was happening.

Given the opportunity to try and decode the images and the references to marriage and ballet or to simply observe with my eyes and ears I chose the latter.  There comes a time when the meta-memes outpace themselves and all antecedents have to be used as springboards rather than the object of reference.  Wugh.  It was shortly after I arrived at that conclusion that the final resolution of the swelled and clacked, I shook my head back into the present, and  I made my way out of the room back into the airy museum.  I took a deep breath when I got out.  I had gained an abstract experience I could not describe.

Not bad for a lazy Saturday.

Irvin Etienne, Aesthetic Czar, whose garden trowel I am not worthy to clean, is away this week.  He said something about a professional conference in St Louis, but I hear Dolly Parton is performing in Branson, so I’m not sure…

Anyway, he left me keys to the blog-o-graph and said, “Don’t do anything I wouldn’t do.”

More and more this season, I have been enraptured with wonder at what nature does.  For the blog’s title, I turned to Jens Jensen, one of the great evangelists for the church of mother earth.   In the first chapter of Siftings (1939) he said that the “[natural world] about us has within it all the joy and happiness that we need.”  Amen.  As much as my life is enriched by the amazing work I see in our galleries, more nourishing for my soul is the beauty and humility of plants.  I want to offer three little samples.

Symbiosis.  A pea does not spring full grown, drenched in butter, from the head  of the Jolly Green Giant.  It is the product of co-operation with a bacteria Rhizobium leguminosarum.  Nitrogen is the most limiting nutrient for crop growth, it is not readily available in the soil.  Nitrogen is 78% of the air around us, but can you grab some to get your plants to grow lushly?  I didn’t think so.  A slender vine leaps from the earth, makes beautiful flowers, and delicious sweet peas – because it forms little nodules on its roots to shelter the bacteria.  As the bacteria goes happily about the business of life, it pulls this invisible gas nitrogen out of the air and provides it for the pea plant’s nutritional needs.  Does the iPhone have an app for that?

Effortlessly graceful patterns. The harmonious flow of line is a goal of design from cups to clothes to cars (well, okay, not for every designer and artist).   But how would humans know what beautiful pattern is if not for nature’s originals?  I love the swirl and arc of maturing sunflower seeds in arrays that cannot quite be predicted (in the IMA orchard, photo “Sunnyside up” by “whisperingwolf1” on Flickr)

If miraculous productiveness and original design are not enough to draw you into the church of nature surely the silky white color and heady perfume of the lilies that line the aisle between our new apple trees will convert you (thanks again to “whisperingwolf1”).

Group IR Shot. David Miller, Charles Falco, Richard McCoy, Zina Deretsky, Aimee Allen, Christina Milton-O'Connell, and Linda Witkowski

Part I: Making the Connections

The year: 1998
The place: Madrid, Spain.

In Madrid I was learning encuadernación and life drawing when I met Zina Deretsky who at the time was illustrating many different species of Iberian lacewings at the same Universidad Complutense.  We became good friends and began trading stories on our walks to la Universidad.  My stories revolved around my upbringing in the agra-centric world of Indiana – topics included sports, people I knew in Future Farmers of America (FFA), unnecessarily large trucks owned by adolescent boys, and a now-defunct yearly event at my high school called “Farm Day.”  Farm Day was amazing, but I’m not going into that here.  Zina’s stories revolved around sunny California, Yale, and her quasi-scientific vodka sampling.  She went on to grad school at Johns Hopkins and later became an illustrator who works for the National Science Foundation.  And after grad school in New York, I went on to come back to Indiana as an art conservator for the IMA.

Antlion by Zina Deretsky

So, last summer I was more than happy to help Zina organize a workshop at the IMA for the American Medical Illustrators Annual Meeting.  And how did Zina get to Indy from her D.C. area home?  By motorcycle, of course

I quickly found out that one of the big highlights of the AMI Annual Meeting is the “Salon” where medical illustrators exhibit and celebrate their recent illustrations and projects.  After checking out some of gruesomely fascinating work (that one of the car accident for the court trial still troubles me) we bumped into University of Arizona PhD student, Aimee Allen, who had just finished teaching a workshop with Zina on drawing with camera obscuras. The cameras that they used for the workshop happened to be owned by Charles Falco  (who from here on, for sake of continuity and accuracy, will be referred to simply as “Falco”).

Falco was at the AMI Annual Meeting giving a couple of lectures including one on the “Use of Mirrors and Optics in Early Renaissance Painting.” Knowing a little about the Falco from his work on the Hockney-Falco thesis, and as the co-curator of “The Art of the Motorcycle” at the Guggenheim Museum, I really wanted to catch one of his lectures.  But I never could get away from the IMA to go hear him.

To make a long story short, Falco, Aimee, and Zina came by the conservation lab to have a look on the work currently being done on the renaissance-era painting by Sebestian Mainardi.   You may have seen this work in the Star Studio as part of the conservation exhibition.  If not, here’s an introductory video:

Note: as of last month you can now come and visit the painting installed in the Clowes Courtyard. (Yeah, it’s worth a special trip!)

I was surprised when Falco brought a modified digital SLR camera with him that allowed him to photograph the Infrared Region (IR) of the electromagnetic spectrum.  Conservators have been using IR cameras as an examination and documentation technique for decades, but usually the process requires a more complicated set up than the SLR camera Falco was carrying around.

You now might have realized that the first image in this post looks a little different.  It’s not that it’s black and white: it’s an IR image taken by Falco’s camera in front of the Mainardi.

For example, the IMA has owned an IR video camera in its lab for close to 30 years. Being able to see into the IR is particularly helpful when looking at paintings that have underdrawings – literally I mean drawings underneath the paint layers that artists would have used as guides while making paintings (if you want to see how a renaissance artist would have used an under drawing in a panel painting go here).   Simply stated, using an IR camera to look at a painting allows us to “see” behind certain paint layers.  This is quite helpful for conservators doing research into an artist’s techniques and materials and it can also guide conservators in their approach in the event an intervention is required.

Laurence Robinson of Opus Instruments Ltd demonstrating the Osiris IR camera at the IMA

Having Falco visit when he did was convenient because a few weeks prior we were visited by Laurence Robinson of Opus Instruments Ltd. who came to the IMA from the UK to demonstrate a new digital IRR camera system.  This “Osiris” camera is fabulous. It produces high-quality and high-resolution digital images using an array of sensors.  This camera has the capacity to see into a greater range of the IR spectrum than the camera that Falco brought with him.  Though this camera is rather portable, it’s not nearly as portable as Falco’s modified hand-held SLR camera.  Also it’s considerably more expensive and requires some expertise to use properly.

Obviously, we were all thrilled to escort Falco and the rest of the gang around the lab as they looked at and photographed some other paintings that we had recently examined using the Osiris camera.  Falco snapped away in the lab and up in the galleries.  We were impressed with the immediate results of his easy-to-use camera.

And it’s at this point in the story that I will stop.  You’ll have to come back tomorrow to read Falco’s side of the story.  I’ll give you a hint, though, he shows some great examples of what he’s been seeing with his camera for the past year, and also talks about an upcoming publication in the July 2009 issue of the ‘Review of Scientific Instruments’.

So what else is on my list? Well, as a kid who grew up in the 80s, pizza, video games, and animatronic-animal robot bands will always be a big deal to me. Therefore, I’m dying to see Thursday night’s showing of that Showbiz Pizza movie called The Rock-Afire Explosion, “the story of a small-town car salesman, a struggling inventor, and an animatronic rock band, that quickly becomes an eccentric portrait of childhood memories, broken dreams, and the resilience of the human spirit.” Sounds fantastically wacky, huh? Check the trailer below.

After Thursday’s robot-con-pizza pleasure fest, the next film on my must see IIFF list is a documentary called Racing Dreams. Produced by Dwayne “The Rock” Johnson of Race to Witch Mountain fame, Friday night’s tale of speed chronicles the lives of a group of go-karting kids as they pilot their dreams towards motor speedway glory. With the Tour de France winding down (and up the mountains) and the Allstate 400 at the Brickyard being my favorite spectacle in goofy name choice rather than racing, I’m really counting on Racing Dreams to tide me over until MotoGP in August. Check out a preview of Racing Dreams below.

Saturday, July 25,  marks the end of my film festival rookie season and the beginning of my wait for 2010’s. However, before next year’s IIFF comes around, we all have one more chance to see the films awarded for Best Documentary, Best American Cinema, and Best World Cinema. If you’ve missed the festival so far or were only able to catch a show or two, Saturday is your chance to see the best films this year’s IIFF had to offer.

Click here for a full IIFF schedule.

Phil’s Pharmacy prescribes the following links to combat Monday online anemia.

Indianapolis International Film Festiva (IIFF) – Only six years old and already pulling in some pretty notable films. Opening night had sneak peak of “500 Days of Summer” and last Friday there was a double feature of “Best Worst Movie” and “Troll 2.” Some films I’m looking forward to seeing are “The Dungeon Masters” tonight at 9 PM, “Garbage Dreams” tomorrow at 7:30 pm, and a documentary about the  Showbiz Pizza band, “The Rock-Afire Explosion” on Thursday at 7 pm. Films show throughout the day now through July 25 at the IMA. Full IIFF schedule.

Intolerable Beauty: Portraits of American Mass Consumption – A thought provoking collection of photos by Chris Jordan regarding the discarded. Here’s a question: if dinosaurs died, got buried, and turned into sweet sweet oil, what happens to motherboards and diapers?

Elizabeth Kolbert: Why are we so fat? – Speaking of mass consumption, “If this was about tuberculosis, it would be called an epidemic.” Ha! Check out this interesting read on some of the science-y theories behind our growing behinds and a scary observation about how people will basically continue to eat so long as there is food in front of them. This in mind, I’m going to have to rethink the compulsive popcorn eating I planned for IIFF.

Monday Music – “Young Hearts Spark Fire” by the Japandroids. Giving The Crocodiles a run for their money. Download audio file (Japandroids-Young_Hearts_Spark_Fire.mp3)

Phil’s Pharmacy prescribes the following links to combat Monday online anemia.

Henry Wessel: Anything that Catches my Eye – A short ArtBabble video of photographer Henry Wessel talking about his philosophy on photographing and luck. Example excerpt,  “you can do things to prepare yourself to receive the good luck.” Note: In a couple weeks I’m taking a vacation and heading West with a car, guitar, and camera. If you’re feeling lucky, prepare yourself.

Wataru Ito: Castle on the Ocean – Tedium is the message. Learn a few folds for yourself on ArtBabble. Swallow. Duck. Sparrow.

Charles + Ray Eames on TED – Good work to the Internet for making this TED video show up on Digg.com. TED is definitely a cool site, but c’mon, this talk is over two years old. There’s way fresher Digg-able design content on ArtBabble : )

Monday Music – “I Wonder Who We Are” by The Clientele. Download audio file (The%20Clientele%20-%20I%20Wonder%20Who%20We%20Are.mp3)