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Good intentions: Social inclusion and its evaluation in New Zealand’s local public art galleries

Good intentions: Social inclusion and its evaluation in New Zealand’s local public art galleries. Claire Baker, 2014. Overview. Research objective & intended benefits Methodology Research questions Literature review Case study structure & participants Interview results Analysis

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Good intentions: Social inclusion and its evaluation in New Zealand’s local public art galleries

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  1. Good intentions:Social inclusion and its evaluation in New Zealand’s local public art galleries Claire Baker, 2014

  2. Overview • Research objective & intended benefits • Methodology • Research questions • Literature review • Case study structure & participants • Interview results • Analysis • Conclusions • Activity • Discussion

  3. Research Objective To explore the social inclusion policy and practices of public art galleries in Aotearoa in relation to international museum developments… …using a case study of :

  4. Intended Benefits • Contribute to museum and community studies literature • Produce original data about museum evaluation and policy • Provide insights for the museum sector, and central and local government

  5. Methodology Inductive, qualitative& exploratory Face to face interviews with professionals from: • Wellington City Council • ToiPōneke Gallery • Wellington Museums Trust • City Gallery Wellington Documentary research of strategies, reports and legislation

  6. Research Questions Primary research question : • How do major and minor local public art galleries work towardsand evaluate social inclusion in New Zealand? Sub-questions : • What are the social inclusion aims of City Gallery Wellington & ToiPōnekeGallery? • How are these put into practice? • How do the galleries evaluate social inclusion outcomes? • What social inclusion challenges do the galleries face? • What are the social inclusion successes of the galleries? • What is being done to improve social inclusion in local art galleries? • How could social inclusion be further improved?

  7. Literature review: Featuring Richard Sandell Social inclusion = combating social inequality and disadvantage. Richard Sandell, "Museums and the combating of social inequality: roles, responsibilities, resistance," 5.

  8. Literature review: three areas 1. Social inclusion and community engagement Sandell, Lynch, Coxhall, Anderson, Archibald, Black, Crooke, Watson, Mason, Karp, Corsane, Newman, James, Onciul, Clifford, Perin, Kreamer & Levine, Nightingale & Mahal, Golding & Modest , Davis, Thelen, Hooper-Greenhill, Fleming, Whitcomb, Cornwall, Cochrane, Newman & McLean, Marshall, Bronfenbrenner, Anwar Gewirtz, and Cribb, Wintzerith, Regnault & Walker, McCarthy & Mason, West & Smith, Atkinson et al., UK Department of Culture Media & Sport, Social Exclusion Unit 2. Art and the public Bourdieu, Darbel & Schnapper, Grenfell & Hardy, Whitehead, Wright, Cuno, Maleuvre, Duncan, Hooper-Greenhill, Anson & Garrett, Silva, Black, Jermyn 3. Museums and evaluation Weil, Wright, Black, Sheppard, Selwood & Davies, Ander et al, Davies, Reeve & Woollard, Whitehead, Hooper-Greenhill, Thompson, Davidson & Sibley, Kelly, Martin

  9. Literature review: International developments & New Zealand USA Anacostia Community Museum UK Social Exclusion Unit Department of Culture Media and Sport Australia Social Inclusion Unit NZ Cultural Indicators for NZ

  10. Social inclusion in public art galleries “Enhancing public participation from all areas of society with the aim of improved wellbeing at individual, community and/or wider social levels.” Claire Baker

  11. Participants were from:

  12. Results: Thoughts on social inclusion in public art galleries “it goes beyond being an attendee to being a participant in the development of projects…where the participant’s response to the project or activity, as it is being developed, is valued and incorporated into the work in some way.”   “It’s about feeling safe, welcome – ‘this is part of my terrain, my environment. I would go here to shelter from the rain.’” “Inclusion means being accepted by the community as a place that people can relate to…For cultural institutions, rather than being internally focused, it’s about engaging with people...In an art gallery, you’re connecting people with art.”

  13. Results: Policies mentioned

  14. Results: Council–art gallery relationship/communication • “We could do better at working with our CCOs to ensure their work is more closely aligned to our strategies and priorities. We should be able to exert more influence on them than we currently do.” • “The lines of communication [between the Council & City Gallery] could be improved enormously. There are too few, and they are not as robust as they could be, and are not necessarily the right kind.”

  15. Results: Social inclusion challenges • “For some reason, despite considerable effort on the part of galleries over many years, it is a profile that doesn’t seem to change. City Gallery, like other galleries, wants to attract and engage as broad and diverse an audience as possible.” • “The fact that they’re an art gallery, a contemporary art gallery at that – for lots of people it’s a huge barrier, straight off the bat.” • “[City Gallery] might be segmenting out our target market because other parts of the arts world [such as ToiPōneke Gallery] provide for those people. Not everyone wants to go. They see City Gallery as bastions of the elite.

  16. Results: Social inclusion successes Exhibitions mentioned: City Gallery Wellington: • Moving on Asia: Towards a New Art Network 2004–2013(February – June 2013) • Yayoi Kusama: Mirrored Years (September 2009 – February 2010) • Parihaka: The Art of Passive Resistance (August 2000 – January 2001) • Sui faigaaetumaufa’avae“tatau” (tattoo) (August – October 2012) ToiPōneke Gallery: TīvaevaeTaonga: Our Tīvaevae Glory Box (September – October 2012)

  17. Analysis: Collaborative exhibitions

  18. Analysis: A nationwide evaluation model? “Asingular, sustainable methodology for measuring impact needs to be promoted so that museums can put it into practice.” West, Celine, and Charlotte Smith. "We are not a Government poodle: Museums and social inclusion under New Labour,” 285. “If you don’t have a framework, in a bureaucracy like Council, then things don’t get their due worth” —participant

  19. Public art gallery policy flow chart

  20. Proposed government-led evaluation model for arts & culture • The Ministry for Culture & Heritage lead the development of a practical arts and culture evaluation model that could be used nationwide • Social inclusion indicators as part of the Cultural Indicators for New Zealand • Social inclusion Key Performance Indicators (KPIs) needed in local councils

  21. Conclusions • The transformational potential of local public art galleries is limited by unclear policy. • The measurement of social outcomes of public art galleries is not currently a priority, echoed by the lack of integration across central and local government on this issue. • New Zealand’s museums and galleries demonstrate a relatively narrow view of social inclusion, relying predominantly on exhibitions about ethnic cultures as a form of audience development. • A whole of organisation culture change is required to significantly advance social inclusion in public art galleries. • Evaluation is necessary not only to justify public funds, but also to provide a measurement framework for a greater range of social inclusion practices within institutions. R&D needed for this.

  22. Activity Please write down 2 or 3 things that have stuck out or ideas you’ve had during the presentation. They might be: • (If you work for a museum/gallery) Things your museum/gallery can do to better include the public • Ideas you have about evaluating social inclusion in arts and culture • Your ideas for further research

  23. Our discussion…… • What did you write down? • What do you think are the challenges for social inclusion in public art galleries? Please share insights from your own organisations….. • Why do you think public art galleries are not included in the discussion about community ownership and democratic museums? • How do the ideas for developing social inclusion sit with you and your experiences of public art galleries? What are your ideas? • Do you have any thoughts about the idea for a nationally driven evaluation model for social inclusion in arts and culture?

  24. Contact Claire Baker at: bakclaire@gmail.com This seminar is part of the CPCP seminar series 2014.CPCP is one of the eSocSciresearch networks. Join eSocSci for free: www.esocsci.org.nz/register/ Find out more about the CPCP network at: www.esocsci.org.nz/networks/creative-practice-cultural-policy/ Brought to you by engaged Social Science (eSocSci) www.esocsci.org.nz

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