A Culture of Lates

This guest post has been provided by Culture24.

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Culture24 is running the first ever national conference about museum after-hours events at the National Gallery in London on June 1st. ‘A Culture of Lates: How do Museum Lates Build Audiences & Generate Income?’ is aimed at museum/gallery after-hours events programmers and venue decision-makers and will be a fabulous opportunity to learn about Lates and network with colleagues.

 

Tickets are available now from the conference sales page  but if you work or volunteer at an Accredited Essex Museum that is not an NPO please contact Amy before booking as she can help you to access funding to attend.

 

The speaker list includes:

  • Kim Streets, CEO of Museums Sheffield
  • Ashlie Hunter, Producer of Public Programs, Art Gallery of New South Wales
  • Bill Griffiths, Head of Programmes, Tyne & Wear Archives & Museums, creator of Newcastle/Gateshead’s annual culture crawl The Late Shows
  • Marilyn Scott, Director, The Lightbox, Woking, whose Thursday Lates attract a new audience of local young professionals
  • Lucy Woodbridge, Head of Visitor Events at the Natural History Museum, who opens up access to the museum’s collection while generating income
  • Tatiana Getman, Head of special projects & events, the State Tretyakov Gallery, Moscow
  • Tim Ross, Australian comedian and TV presenter who uses comedy to create original heritage interpretation events and Instagram to market them.
  • Neil Mendoza, entrepreneur and consultant who recently published the DCMS Mendoza Review, an independent review of museums in England
  • Sam Bompas, Experience Designer and Jellymonger from Bompas & Parr, who flooded the ss Great Britain with 55,000 litres of luminous jelly for Museums at Night 2012
  • The Godperson of Lates, the original Lates programmer who started it all off at the V&A in 2001
  • Abigail Daikin, Events Director at Time Out, the media outlet that supports Lates all over the world
  • Kate Rolfe, Head of Events at the National Gallery
  • Alan Miller, Chair of the Night-Time Industries Association
  • Airbnb

 

The programme will feature presentations, panel discussions, socials and practical sessions including:

Programmers’ Question Time – Is your venue’s Lates programme blighted by lack of funding? Do you have a crop of talented local artists but are unsure how to reap the best out of them? Our panel of Lates event programming experts will grapple with your event challenges and help you create your after-hours Garden of Eden!

Plus …

Sussex independent artisan spirit producers Blackdown Distillery will be sponsoring the after-conference drinks party providing a welcome drink to all guests who pop up to the National Dining Rooms from 5.30pm

 

 And if that were not all…

There will be a comedy improve show by Do Not Adjust Your Stage at the National Gallery starting at 7pm on the evening of the 1st June after the conference. The National Gallery are offering all conference delegates the opportunity to buy tickets at the discounted membership price. Delegates simply use this link https://www.nationalgallery.org.uk/whats-on/calendar/blank-canvas to buy tickets at the member’s price and present their ticket along with their conference lanyard on the door on the night.

You may remember that Do Not Adjust Your Stage have previously delivered training for Essex museums on audience engagement, public speaking and giving guided tours.

 

We hope you can join us for this unique occasion!

Curator of the Future: Part 2

Curator of the Future: Part 2

Last week, I blogged about the British Museum “The Curator of the Future” Conference. In part 1, I discussed their “Curatorial Survivial Kit”. Now I’ll look at the “Curator and Digital” and “Next Generation” sessions.

  • Curators and Digital

Chris Michaels, Head of Digital and Publishing at the British Museum set the scene after lunch by asking how curation has changed in this age of “digital enlightenment”.

Originally the museum team was focused on Neil MacGregor “History of the World in 100 Objects” books, so the success of the podcasts took them by surprise (and Chris admitted that if they’d known how well they’d work, they would have done things slightly differently!). People listened at home, on the move and even downloaded them to listen in front of the objects in the museum. The moral? It’s nearly impossible to predict which emerging platforms are going to be a hit, so it’s a good idea to experiment and make things available in as many ways as your budget, capacity and imagination will allow.

Selfies, wifi etc change how people interact with museums and how we and they share that experience. Behind the scenes sharing. Presenting more of our collections to a much wider audience.

Anra Kennedy from Culture 24’s presentation was asked if your use of digital technology is “Fit for the Future”. At the moment we have a “supply orientated approach” – this is the information we want to share with you and this is how we’re going to do so. This isn’t working. Museums need to research what their audiences (and potential audiences) want, would be interested in and how to get it to the,. This will require a multi-platform approach using the social web (Twitter, Facebook etc), on-site provision and mobile provision such as podcasts.

Last year, if you take out the stats for “adult” sites, 0.08per cent of all web traffic went to the sites of the 700 largest cultural organisations. That sounds quite positive, until you realise that the same percent were visiting same as B&Q!

Museum’s need to have an online presence that’s engaging and playful as well as informative. Anra gave several examples including Show Me, a project for 7 to 14 year olds working with teachers, and the partnership project VanGoYourself.com. This project encourages people re-create scenes from Van Gogh’s artworks and share them via social media. This has been very popular, particularly amongst hipsters, and won the “Museum and the Web” Exhibition and People’s Choice awards.

Anra also talked about. She stressed how important it is for museums to share good images online – high resolution and high quality, labelled with information about their availability for use and information about what they depict. Images should be “usable, reusable and shareable”.

I particularly liked Anra’s suggestion that websites can be “living labs” where you can experiment and change. By playing with layouts, language/tone, how functions are displayed, showing related content (or not), you can learn about how your online visitors use your site, what they like and what might work better.

Zoe Hughes is Curator of Fossil Invertebrates at the Natural History Museum, and she presented on a pet-subject of mine: Why Curators Should Tweet

Sick of being told “most people don’t care about your collections”, Zoe wondered is it that they don’t care or is it that they don’t know? She began tweeting to connect with academic researchers in her field and to raise awareness of collections, organisation and the curator’s role.

What she’s found is that only a tiny amount of her Twitter followers are her original target audience of “researchers in her field” – only 0.03 per cent. A lot are other museums but there are members of the public too. Her content is very different to what she’d originally envisioned too, as a lot of her work involves being at a computer and it’s hard to make that interesting in a tweet. Instead, she shares:

  • Photos of interesting objects as she finds them (this means she carries her smartphone with her in the stores to photograph and then share)
  • Information and images that link to popular hashtags (#FossilFriday ties in very well!)
  • Some information about what she’s doing (eg outreach, field work etc)
  • Questions and answers about the collections

Zoe raised the interesting quandary of popularity vs engagement. What does it really mean if people “like” or “follow” your content? How do you measure, record and report this data? They’re good questions and, sadly, currently without definitive answers.

(You can follow Zoe on Twitter: @NHM_Cephalopoda)

  • The Next Generation

Sadly, I had to leave after Rachel Souhami excellent introduction to this section of the programme. Rachel is a Museum Academic and Consultant who was involved in the 2014 “Future of Museums” conference which asked early career professionals to be idealistic about the future of the sector, leading to the creation of a Manifesto for the Future of Museums.

This document has been described by those  higher up in museums “nothing new”. These are the same issues that we’ve all been talking about for years. Rachel quite rightly challenges “If this is what you’ve been talking about for years, why haven’t you changed anything?”

Rachel has made a list suggestions for senior museum professionals who want this change to happen:

1 Stop talking about “the museum sector” – there is so much variety in what we do and how we do it, that we cannot be described as a cohesive whole

2 Ensure a cogent, collective leadership

3 Engage with emerging museum professionals

4 Remind emerging professionals to be proactive in seeking change