Transforming the Gallery of California Art at the Oakland Museum of California

Barbara Henry and Kathleen McLean, editors

Oakland Museum of California

With support from The James Irvine Foundation September 2010

Contents

5 Foreword | Lori Fogarty, Executive Director 9 Introduction | Barbara Henry, Chief Curator of Education 13 How We Learned to Listen: Research and Evaluation | Mary T. Faria and Karen G. Nelson 25 Listening to Teens | Evelyn Orantes

Interpretive Experiences 31 Inviting Visitors into the Conversation About Art: Labels | Mary T. Faria 45 Translations Traducciones 翻譯 | Karen G. Nelson and Lisa Silberstein 51 “one work of art—many experiences”: The Art 360 Gallery | Mary T. Faria and Karen G. Nelson

61 Seeing Ourselves in the Gallery of California Art | Karen G. Nelson 67 ArtSpeak: Hands-on Interpretive Video | Miriam Lakes and Evelyn Orantes 71 The Is it art? Lounge | Miriam Lakes and Evelyn Orantes 81 Living the Good Life Lounge | Mary T. Faria and Karen G. Nelson

R e f l e ctio n s

Copyediting: Sandra Horwich and Associates, Inc. 89 Getting Over It | René de Guzman Graphic Design: Gordon Chun Design 91 Seeing Yourself | Drew Johnson ISBN: 978-0-615-41136-1 93 Breaking Down the Divide: Multiple Voices | Karen Tsujimoto Library of Congress: 2010939727 95 Reflections on Writing | Jaime Cortez All photographs by OMCA staff unless otherwise noted. 97 Walking the Talk | Kathleen McLean

1 0 0 Acknowledgments A1 Appendices

Foreword When I joined the Oakland Museum of community—and ultimately the vision of this California about four and a half years ago, institution. We are transforming. And, as the Lori Fogarty, Executive Director I was attracted to the position for two main dictionary so aptly notes, this means changing reasons. First, I knew the Museum as an our composition and structure; our outward incredible resource here in my own hometown, appearance; and most fundamentally, our one with a rich history as a “museum of the character and condition. people” with a strong commitment to educa- Here is a bit of background on the Museum tion and community engagement. Second, and the roots from which this transformation it was undergoing a renovation and, having has grown. The Oakland Museum of California worked with two other major capital projects opened in 1969 in its landmark building, mark- at other museums, I knew that these kinds of ing the unification of three organizations that projects present extraordinary opportunities date back to the early part of the 20th century. for an institution to re-introduce itself to its These three civic institutions—the Oakland public, and to grow, expand, and improve in all Transform: Public Museum, the Oakland Art Gallery, and facets of its programs and activities. Little did the Snow Museum of Natural History—were all To change in composition I know the full extent of what this project would created for the public good, not an outgrowth entail or how it would challenge me, my col- of a private collector or the grand gesture of an or structure; To change leagues, and every aspect of the organization. individual philanthropist. While each museum the outward form or When I first began here, we couldn’t quite focused on a distinct discipline, they shared appearance; To change in capture the right word for what we were a long-standing tradition of education and doing—except that they all began with “re.” ­community connection and presented innova- character or condition. Remodel? Not quite right—sounds like the tive and occasionally groundbreaking work in kitchen. Renovation? Suited more for an old exhibitions and collections. y -Webster Dictionar farmhouse. Reinstallation? Who knows what —Merriam With the alliance of the three institutions, the that means. Reinvention? Well, only if we’re Museum leadership determined to focus on tossing our history aside. the theme of California, thereby distinguish- As we moved further into the process, ing it from the other museums in the Bay ­however, I began to see that this project Area and creating—unique among museums involved much more than the physical change nationally—a multidisciplinary institution, of expanding the galleries, enhancing­ the focused on its own region and place and ­infrastructure, and improving our visitor ­making the links between California’s natural, ­amenities. This project touches every aspect cultural, and creative heritage. Most impor- of the Museum—from the way we work tantly, the new Oakland Museum, created as together as staff, with our visitors, with our it was in the midst of the social upheavals of the 1960s, reaffirmed in the actual physical

4 THE ART 360 GALLERY 5 architecture of the building and in the revolu- • Attract and engage new audiences through ity for new and diverse audiences, Irvine’s had a strong voice in the past. It means in the History Gallery and with a number of tionary ­installation of its collection a role as hands-on, interactive interpretive methods AIF has even broader criteria. The Irvine decision-making can be cumbersome and the same key players. Now in the midst of public forum, embracing the diversity of its and dedicated education spaces Foundation defines innovation as “instances confusing, as inclusion of various voices— our transformation of the Gallery of Natural surrounding community and the plurality of of organizational change that stem from a whether of other staff, members of the Sciences, we are implementing the lessons • Better reflect California’s diversity—both the California experience. shift in underlying assumptions and provide community, or visitors—means that decisions learned from earlier phases of our work. We human and environmental—through new ways to fulfill the mission. Innovation may can’t take place in isolation or quickly and are also taking some of these same processes Or, at least that was the grand idea. At some dynamic new exhibition installations, be achieved in an organization’s products, its ­easily. And, most of all, it means trying to live and learnings to other areas of the Museum moments over the next forty years, the presentation of the Museum’s rich processes, or its structures. By focusing on with ambiguity and, at the same time, being and working on a second AIF grant award Oakland Museum of California surpassed collections, and direct involvement of the a specific innovation, and learning from the nimble and responsive as we adjust to new that focuses on audience development, con- the expectations of this grand ambition and community in exhibition development experience, organizations develop their ability information and respond to discoveries. temporary art practices, and new models of gained a national reputation for its programs • Draw deeper connections between to adapt.” programming. While we have strengthened and exhibitions. In other ways, the dream Secondly, innovation means that ­typical California’s natural environment, our adaptive muscles in some areas of the remained elusive, particularly as the decades So, we began a process not just about a new staff roles must evolve and respond to multicultural history, and creative Museum, we now find that—as we work with passed and the very idea of the role of a Museum, a new Gallery, or new interpretive the ­changing needs of our institution and expression staff, departments, and processes that have museum changed and the societal context for approaches—but about organizational and ­audiences. The curator can no longer be • Emphasize the personal stories of not had the “innovation workout” experienced arts organizations evolved. cultural change itself. In the pages that ­follow, the sole authority—he or she now acts as a California—artists, historians, scientists, by the interpretive team—we have adaptive you’ll read about the specific and detailed facilitator of the conversations and multiple It was at this moment, close to forty years educators, and innovators muscles in other parts of the Museum that work that has involved doing research about perspectives reflected in the gallery. The after the Museum’s opening, that our trans- need to do some heavy lifting! • Present the Museum’s broad collections our audiences and other institutions, visitor educator can no longer stay on the periphery that we’ve undertaken strives to recognize formation project began. Indeed, the first in new ways in expanded galleries and new prototyping and testing, and the processes of design ­decisions as the floor plan, seating, our visitors as part of the dialogue—they edu- As the executive director, I wasn’t involved broad goal of the project was articulated gallery environments that led to some of the new elements in our and even color of the walls all impact the visi- cate us, they tell their own stories, they come with every meeting, discussion, or decision several years before with the language in the galleries. Behind all of these efforts was tors’ ­experience. And even the registrar and with existing ideas of what they want to learn, involved with the projects and processes 2002 bond that provided the initial funding • Improve the visitor experience by providing innovation as the Irvine Foundation defines it— conservator cannot remain behind the scenes, and the information they share is every bit as described in these pages. Nonetheless, I’ve for the Museum’s capital renovation. The a “front door” to the Museum building, particularly shifts in underlying assumptions only considering the care and preservation of important as the information we present. experienced enormous personal learning, and ­residents and taxpayers of the City of Oakland covered gathering areas, and disabled and creation of new processes or structures. the collection; instead, they become part of I believe the Oakland Museum of California voted by more than 75% to support: “a major visitor access One of the goals of the Irvine Foundation’s I will highlight just a few. the conversation with visitors in revealing the will never be the same. In another forty years, expansion, reinstallation, and renovation AIF project is to build capacity for institutions ways museums work. I hope that our successors will look back at of the History Gallery, the Art Gallery, and This bold agenda then received a boost in First, innovation requires fundamental shifts to adapt to the inevitable and accelerat- this moment and see it as the same kind of the Natural Sciences Gallery to reflect the 2006 with a grant from the James Irvine in the way we work. That may involve ­creating Finally, innovation means that we change our ing change that defines our world. For the revolu­tion in the concept of a museum that changing faces and environment of California Foundation’s Arts Innovation Fund (AIF) to new types of teams that bring together staff very language about the role of a museum. Oakland Museum of California, the adapta- took place in 1969. and include new information, interactive support a kind of “R&D” effort to develop members who have different agendas and All the language with which we’re so familiar— tion began immediately as the processes technologies, and multicultural, multilingual new interpretive approaches in the Gallery ­different working styles and who may never “serving our visitors,” “telling the stories,” that were ­guiding the “Irvine project,” as we presentations.” As we began what has become of California Art. Additional support was pro- have had direct interaction. It often requires “talking about concepts,” and “presenting the called it, began to permeate every aspect of a $62+ million project, we articulated the vided by the Institute for Museum and Library putting aside traditional hierarchical struc- information”­—become highly problematic in a the Museum. Many of the new processes and follow­ing specific goals for the transformation: Services. While the Art Gallery was the defined tures and empowering staff positions that museum that honors, respects, and welcomes structures that were put in place for the Art project and the goal focused on accessibil- bring expertise and perspectives that haven’t the direct involvement of visitors. The process Gallery translated to new ways of ­working

6 FOREWORD 7 Introduction How We Visitors Changed Our Museum With this substantial financial support based focuses on how we kept the visitor experi- in the Education Department, we were able Barbara Henry, ence at the forefront of our thinking as we to form an interpretive team of staff educa- Chief Curator of Education transformed the Oakland Museum’s Gallery tors that also included an Arts Innovation of California Art for the 21st century. This project coordinator, research assistants, and thinking was informed over the years by our Kathleen McLean of Independent Exhibitions experiences in deepening the Museum’s public as the principal consultant. This team led the dimension through multiple projects, includ- visitor research and prototyping ­activities ing a National Endowment for the Humanities that informed collaborative efforts with the self-study, community-based collaborations curators, registrars, and other art staff in for programs and exhibitions, education developing new types of interpretive elements programs serving widely diverse audiences, to support the project goal. activities with our advisory councils, a fam- We wanted to transform the Art Gallery ily learning initiative, and visitor research in into a dynamic place for experiencing art ­temporary exhibitions. where visitors­ are inspired to make their own From the beginning, Museum staff committed ­meanings and personal experiences with to putting visitors at the center of their think- the artworks on view. We used the metaphor ing in reimagining the galleries, but we all had of the Gallery as “our house” where visitors “. . . we live nearby and different conceptions of what that meant for feel welcome and comfortable engaging in changes to the exhibits. The Museum received creative experiences. We wanted to realize are members and an Arts Innovation Fund (AIF) grant from the the Museum’s potential of being a place “for James Irvine Foundation in 2006 followed­ me, my family, and my community” as cham­ we’re starting in the by an additional grant from the Institute pioned by members of our advisory councils. of Museum and Library Services in 2007, habit of just coming to We developed Gallery interpretive objectives ­securing the resources we needed to conduct based on what we had learned from and about hang out here.” extensive visitor research with the stated goal: ­visitors in conducting our education programs To create a more welcoming, comfortable, and and community-based exhibitions and in lively Gallery of California Art, where diverse gathering input from our advisory councils —v isitor comment 2010 families and community audiences will be over many years. We found that program- attracted in greater numbers, find new ways ming was a productive way to experiment with to participate in museum learning, and return new interpretive strategies. The Education often to explore and be inspired by the art and Department’s “Philosophy of Interpretation,” artists of California. which was adopted by the Museum for its overall transformation, guided these efforts.

8 THE ART 360 GALLERY 9 Developed initially in 1990 and updated in With many types of staff—including educa- The curators, designers, and educators 2000 and 2006, this document has served tors, curators, registrars, preparators, media shared a key goal of providing interpretive us well in clarifying the grounding principles specialists, designers, and others—all contrib- experiences throughout the Gallery that were further by the James of our educational efforts from programs to This research project was galvanized uting to the visitor experience, this research seamlessly integrated into exhibit design and exhibitions to this major museum transforma- Irvine Foundation’s working paper, “Critical Issues Facing the Arts in project demanded new ways for staff to col- curatorial content. We were careful to use tion. Institutional goals for the transformed California.” In creating a museum for the 21st century, we realized we laborate across functions. We needed to break technology sparingly as an interpretive tool to galleries included the Philosophy’s principles, needed to consider the Art Gallery in the context of our changing society, down barriers between what were sometimes support the experience of art or access to an such as interdisciplinary connections, multiple particularly in relation to developments in technology and the state’s perceived as conflicting priorities and find new artist. We wanted to avoid jarring the ­visitor perspectives, and active engagement, to help ways to experiment together. This required out of an aesthetic experience, which can changing demographics. We recognized that technology has altered how guide the planning and design of the galleries’ learning how to marry professional values ­happen in galleries where this integration is people access and interact with information and culture on an on-demand visitor-centered experiences. (See Appendix A and responsibilities, such as increased visitor not fully realized. basis with the expectations of personalized experiences, and we saw the for “Philosophy of Interpretation.”) accessibility with the preservation of artworks. need for visitors to share their perspectives and connect with others. With our team in place and institutional California’s changing demographics provided an opportunity to expand Education and Art Department staff members visitor-centered goals and objectives identi- participated in sub-teams formed through- perspectives on the roles of art, the languages we use, and the cultural and fied, we conducted a range of research and out the different phases of the project, from environmental factors that make a public gallery space truly welcoming and proto­typing activities that involved more than conceptual design to iterative prototyping 3,300 visitors and community members over engaging for all visitors. and finally production. This research neces- “Innovation” must be a word that ranks high in the a period of three years. These included: sitated a considerable shift in staff culture and practice for the main Art Gallery, which top ten of most-used words at the Oakland Museum • A baseline survey of visitor comfort and had previously lacked any interpretation of California. The word itself is loaded, so how do we satisfaction level except for object identification labels. Staff prevent getting squashed under the pressure of having • Research and evaluation activities that comfort ­levels varied with the new practice to innovate? Over the duration of the project, I tried to included testing ideas for new Gallery of testing an interpretive element as a rough keep in mind that whatever we were creating was an interpretive experiences with diverse We also conducted creative convenings Once the Gallery reopened in May 2010, prototype in the Gallery rather than as a fin- experiment, a test case, and an exploration into new audiences to assess visitors’ interest and focused on language, technology, co-creation Randi Korn & Associates (RK&A) conducted ished product. During challenging times, we ways of conveying curatorial ideas. The thought that knowledge levels practices, and adult programs. Participants remedial and summative evaluations, includ- kept reminding ourselves we were seeking we were testing rather than building final interactive included artists, writers, musicians, technol- ing interviews about specific interpretive new pathways to innovation in support of our • Dialogue sessions with the Museum’s exhibits allowed for a more relaxed process and for more ogy specialists, dancers, comedians, and elements, exit interviews, and tracking and ­project objectives. community advisory councils to gather room for experimentation. Tricking yourself into that psychologists, to name a few. Staff traveled timing observations. In addition, the Morey feedback on label content, use of tech­ state of mind turns out to be a helpful tool and will most to the Dallas Museum of Art, Denver Art Group conducted a follow-up exit survey, and nology, color and design, translations, and likely also increase your actual productivity. Museum, and Detroit Institute of Arts, all staff held critique sessions with our ­advisory to test prototype interpretive experiences noted for their innovations in new types of ­councils and a teen group. • Community teen sessions to assess comfort art gallery interpretation and experiences. —Stijn Schiffeleers, Digital Media Assistant level and interest in the former Art Gallery We invited accessibility experts and well respected colleagues to critique our Gallery.

10 INTRODUCTION 11 Please Have a Seat We think of the Art Gallery as a dynamic Our work continues. In the following pages, we How We Learned to Listen: Research and Evaluation ­environment where visitors animate the highlight a selection of interpretive ­elements Thirty years ago when I first came to OMCA, spaces and add their perspectives. Visitor featured in the Art Gallery as a result of what my recommendation as Interpretive Specialist Mary T. Faria, Arts Innovation Project Coordinator voices contribute to making the Gallery visitors taught us. Changes will occur more was to provide wheelchairs for all visitors. Karen G. Nelson, Interpretive Specialist/Art ­welcoming and lively as they respond to and frequently as part of the new practice of While realizing that was not realistic, I was engage with the art. Visitors are responding ­supporting a dynamic rather than a “perma- trying to make a point about the importance to the new approaches that include creative nent” Gallery. We will continue to develop the of seating for ensuring comfortable and Early work curatorial presentations of artworks juxta- Gallery as we listen to and collaborate with our meaningful museum experiences. Seating posed with interdisciplinary materials, labels artists, our visitors, and our evolving commu- The renovation of the main galleries of the In 2002, staff contracted with WestEd to came up repeatedly in our visitor research that offer diverse perspectives on an artwork, nities in a region where it has been said that Oakland Museum of California (OMCA) began ­conduct focus groups of families to find and was best stated by author Dave Eggers in vibrant colors, and opportunities for ­visitors the only constant is change itself. in earnest in 1994 with the receipt of a self- out what they thought of the galleries and one of our creative convenings, “I’m all about to contribute content and do something. study grant from the National Endowment what would make their experiences more the contemplation with a painting because I Seating and gathering spaces are distributed for the Humanities. This funding enabled the meaningful. This was part of a James Irvine throughout the Gallery for visitors to hang out, want to sit and look at a painting for an hour. I Museum to reassess humanities interpreta- Foundation grant that the Museum received contemplate, and connect with each other can’t do it, though, because there’s no seating tion for its three collections galleries of Art, focusing on family learning in museums. and the art. anywhere . . . it’s a tragedy—you see people History, and Natural Sciences and to develop WestEd’s report, called “Reflections on Family move through a museum and it’s about seven new collections-based exhibits and education Learning: An Assessment of Family Programs The value of these new approaches was seconds. That’s not right, but there’s nowhere programs for diverse audiences. and Experiences at the Oakland Museum,” ­confirmed in the summative evaluation. to sit, there’s nowhere to have a personal ­identified key themes that emerged from RK&A found that: Departmental chief curators traveled to ten relationship with any given painting.” these discussions with parents and children. museums across the country, and national In fact, observed visitors spent more time in the WestEd found that families need a clear consultants visited the Museum and reviewed Art Gallery than any other exhibition that RK&A We heard pleas for seating from our advisory organization of the Gallery and signage to has evaluated and twice as long as the generally its galleries and collections. Consultants’ council members who noted they come personalize the experience for young people. accepted visitor-saturation point (Serrell, 1998). reports noted the lack of interpretation in the The inclusion of seating and the interpretive to museums with their families, including They need more places to sit, clear directions Gallery of California Art and the difficulty in offerings in the Gallery contributed to visitors’ long grandparents as well as small children, and about what can and cannot be touched, and stay times—as OMCA staff had intended. Visitors understanding the space: “The principles of they need places to sit; otherwise, they more things to touch. who used seating spent nearly two times longer­ in selection and organization are obscure. The the Gallery than did those who did not use seating. experience too much discomfort and leave. absence of any substantive labeling dimin- WestEd also found that families were not Visitors who used one or more interpretive offerings Now the Gallery offers ample comfortable spent nearly three times longer in the Gallery than ishes the real significance of key holdings for aware of the Museum’s focus on California seating, including specially-made modular did those who did not use such offerings.* the average visitor. . . .” and, “The narrative art. The value of providing the orientation seating units distributed throughout the organization is largely vague to an outsider. . . . and interpretive information recommended Gallery, lounges, and moveable seating we *The report states: “Readers should note that the Art Gallery The opportunities to educate the public about by the earlier consultants was evident in one is also the largest exhibition that RK&A has evaluated; how- call “pouffes” that visitors can move to any the largest artists’ community in the United ever, Serrell states that visitors tend to spend a maximum of parent’s comment: “Before I found out [this about twenty minutes in an exhibition regardless of its size. artwork or place in the Gallery. So please be States are largely unattended.” is the Gallery of California Art], I used to go That is, twenty minutes seems to be visitors’ point of satura- tion or fatigue.” Randi Korn & Associates, Inc., “Summative our guest and have a seat! through and say, this is pathetic. They don’t Evaluation: Art Gallery, 2010” (unpublished manuscript, have much of an art collection here, it’s just Oakland Museum of California, 2010).

12 INTRODUCTION 13 local stuff. . . . Yeah, call Paris, have some of Getting started History and Natural Sciences collections in We focused on finding out how visitors felt their throw-aways. . . . Seriously, you look at it the Art Gallery when they provided context about the Museum, how they engaged with Based on this early research, we developed very differently when you realize its [focus on for the art. Interpretive elements would be works of art, and what questions and ideas Finding the Quantity in Qualitative Research new approaches to the look and feel of the California is] intentional.” incorporated among the artworks rather than they had about our prototype activities. We Gallery of California Art. We decided to Although each prototype activity had its own set of visitor insights, ultimately, in a separate “education” area. We wanted set about learning how to incorporate visi- Art education and curatorial staff also con- organize the artworks thematically, rather the entire effort to design for the visitor experience was tied to the Art Gallery to ­create a welcoming culture for a wider tor research and evaluation into the ongoing ducted a series of meetings with OMCA than chronologically, around the subjects renovation objectives and goals. From these, we developed a coding process ­spectrum of visitors. process of interpretation and design. Funding advisory councils as well as diverse groups of of California Land, California People, and that could link findings from different instruments to one set of criteria. for consultants enabled us to contract with artists, curators, art historians, and educa- California Creativity. We thought this would We received the Irvine Arts Innovation grant the national visitor evaluation firm, Randi We needed to assess not only whether a particular activity was “increasing tors to respond to the existing Art Gallery and provide a more comfortable way for visitors approximately four years before opening, Korn & Associates (RK&A), who designed observation skills for experiencing art from multiple perspectives” (coded as brainstorm ideas for the reinstallation. We also without an art background to experience the which placed an even higher priority on devel- some of our first interview instruments for L2), but how much it did this, and how its success compared to that of other read and discussed “The Denver Art Museum artworks. We also hoped this new conceptual oping visitor-centered interpretive elements. random cued testing with visitors. We also activities. We recorded each instance in which a visitor mentioned an L2-like Interpretive Project” by Melora McDermott- framework might invite new associations As the Irvine Arts Innovation project coordi­ consulted with local evaluation experts from moment during an interview. Lewis and The Museum Experience by John between works from different time periods. nator, Mary Faria became the point person the Exploratorium, who coached us in every H. Falk and Lynn D. Dierking, two publications We made a plan to include objects from the To determine the criteria for each code, several staff members individually for evaluation in early 2007, organizing proto­ aspect of this process. about visitor behavior and needs in museums. used the objectives to code the same sample data, then met to compare typing and testing of content for Gallery We built a team of on-call data collectors who notes and discuss ambiguities. Through this process, we developed coding activities that educators had developed both were initially trained by our consultants and criteria that could be applied uniformly by any staff member, identifying key prior to and after the receipt of Irvine fund- subsequently trained by staff who had gained phrases that were central to each objective. When visitors mentioned looking ing. Educators had been creating a master list evaluation skills. We devised a coding system of potential Gallery activities based on years more closely, noticing something different, or paying attention to a particular for the data using the learning objectives to of research and experience with family and aspect of the work, each instance was coded L2. With this collaborative prioritize our experiential goals for visitors. public programs in the galleries. The full range framework as a base, we were able to cull comparable quantitative data from (See Appendix B for “Art Gallery Renovation of the prototyping and evaluation ­process each instrument regardless of its focus and use it to assess the strengths Evaluation Coding Key and Criteria.”) involved: selecting or designing content, of each activity for the overall project. This process established a collective building prototypes, designing instruments, We based our progress on whether we were understanding among Museum staff. collecting visitor responses (data), coding and developing the kind of immediate and take- analyzing data, writing summaries, and then away experiences we wanted visitors to have. —Emily Pinkowitz, Project Assistant 2007–08 further revising and testing iterations of the Usability was gradually woven into the testing prototypes. We designed all of our iterative design in later stages. However, our initial, testing to shape the development of activities primary focus was on testing and developing (See Appendix B for “Art Gallery Renovation Evaluation Coding Key and Criteria.”) that would best meet our learning objectives activities that were conceptual—ones that and become fully integrated into the design of could assess whether activity content and the Art Gallery, making the experience of art signage successfully conveyed an intended INTERDISCIPLINARY OBJECTS meaningful and enjoyable for visitors. message (e.g., there are many ways to expe- rience one artwork). We tested individual activity components for “affordances” or

14 RESEARCH AND EVALUATION 15 ­intuitive usability, determining whether ­visitors If, in our target samples of twelve to twenty- knew how to use the components with few five interviews or surveys, we found that even instructions or explanations. a small number of visitors found an activity enjoyable and valuable because it heightened Ultimately, the activities that we developed their visual awareness, we considered it for a Building Prototypes into interpretive elements in the Gallery were Gallery interpretive element. Heightening an those that: When we started prototyping in early 2007, members of the experience of looking closely was a goal for all interpretive team had some experience with developing educational visitors, even (or especially) for those whose • Visitors found engaging and enjoyable activities as temporary exhibition elements but little or no experience primary learning mode is not visual. • Provided visitors with heightened with creating and testing prototypes. Our principal consultant, experiences of looking closely at the We also kept activities that did not have a Kathleen McLean, guided our efforts to identify activities we believed If you want to create prototypes . . . artworks (versus those that were merely direct connection to learning objectives if were the best candidates to meet our learning objectives and be • Share with staff and visitors what prototyping and evaluation is all enjoyable in and of themselves but did not ­visitor comments indicated that individu- genuinely engaging for visitors. We always prioritized prototyping about. Stress that the goal of evaluation is to encourage feedback encourage a deeper connection with the als were having an experience of the Gallery activities that were open-ended and that we had the resources to that was welcoming or if the activity invited without grading or critiquing an idea or experience. artwork) change in-house based on visitor feedback. ­participation from a widely diverse audience. • Evidence showed fulfilling at least one of our • Involve the registrar and prep crew staff in the process of testing These were two important Art Gallery inter- We built most prototypes ourselves: painting pedestals, fashioning learning objectives, either for the majority and evaluation as early and as much as possible. Their expertise pretive goals for the renovation. comment boards, creating hands-on materials, and finding work and of visitors sampled or for a significant small informs the choice and handling of objects for testing and can storage space as best we could. In the culture of presenting seamless “Because I’m a writer, I like words number of visitors who represented a cross- speed up the process. every­where.” section of learning styles (visual, auditory, perfection common to museums in general—and particularly art • Prioritize prototyping those elements about which you have the most kinesthetic, etc.) museums—some of the best encouragement we received from our primary consultant was, “Don’t be afraid to be ‘rough and ready’!” questions, are the most abstract, or for which you think you need “It’s good to have verbal, kinetic, and With this, we launched over two years of testing using chart paper, visitor input to make the elements work. You can’t test everything. visual info spaced out . . . [good to Learning Objectives for Interpretive ­­­Resources in the foam core, cardboard, wire, duct tape, pencils, and markers to test • Don’t be afraid to be “rough and ready” or “cheap and cheerful”— have] an audio focus versus a visual Gallery of California Art and develop content that would ultimately inform hands-on physical just start! [or] intellectual focus.” or digital gallery experiences. • To foster skills for diverse learners to expe­rience and interpret art • As iterations move from one to the next, informed by what you learn in a variety of ways through testing, have a team member or contractor who can devote “I saw more when listening to music.” time to building revised prototypes in-house. This allows for the • To increase observation skills for experiencing art from multiple quickest turnaround and promotes a culture of prototyping within perspectives the institution. If it’s not possible to do this in-house, hire contractors —visitor comments 2009 • To increase awareness of how art is made and the creative impulse or on-call specialists to produce materials on a schedule that in California coordinates with testing dates.

• To develop greater understanding of how California art reflects the human experience in our diverse history and natural environment

16 RESEARCH AND EVALUATION 17 Visitor encounters with abstract artworks sometimes ”making story” in response to Harp, which has no narrative, individuals were Facilitating opportunities to make personal finding other ways to respond to it. Visitor Responses to Question Prompts Posted About David Ireland’s Harp in the Art Lab, Gallery of California Art meaning of artworks for visitors who had November–December 2007 little knowledge of art but whose ­interest level Rather than using the VTS inquiry script, we was high was a priority in all our ­formative crafted questions specific to Harp as a way ­evaluation of interpretive elements. Within of experimenting with which questions might Question prompt: Question prompt: the first year of testing, we created an engage new viewers in an encounter with Why is this in the Museum? What skills do artists need? ­experimental space called Art Lab in the an unknown artwork, however briefly. While Visitor responses: Visitor responses: Art Gallery and began paper prototyping of this was not the deep and probing approach a ­variety of experiences that would provide promoted by VTS, it did succeed in providing • For all of us without the creativity to create to enjoy. Thanks. • Talent, insights, observation skills, creativity ­content for the remaining two years of testing ways for viewers to slow down enough to take • To open your mind to see a known object in a different concept • None—just an open mind, curiosity and a good imagination and development. a long look and allow legitimate questions or • Materials to twist space thinking! • The ability to schmooze new associations about abstract art to sur- • To get people to think what is art and to leave their comments • The power of observation and a steady hand In one iteration in the Art Lab, boards printed face. Because visitors bring a wealth of life P

with provocative questions surrounded a hoto • A rich wife and a fast car. experience to encounters with art, we were

­conceptual art sculpture by David Ireland titled L : M. Question prompt: discovering entry points that might best assist Harp. Visitors responded on sticky notes with F ee Is this art? Question prompt: atheree individuals to explore or simply acknowledge a wide range of comments and questions of Visitor responses: confusion or mixed feelings. Can art come from scientific curiosity? their own. Visitor responses: David Ireland, Harp, 1991. Mixed media. Gift of the Art Guild of • Maybe? . . . Whether something falls into the category “art” is less the Oakland Museum of California and Reichel Endowment. We were trying to open the way for visitors During the testing with Harp, in late 2007, to allow themselves to question rather than important than its purpose and outcome. • There are some beautiful photos of the solar system I think of those OMCA hosted a workshop for classroom automatically reject. A shift from rejecting as art. teachers in Visual Thinking Strategies (VTS). • Todo es arts, solo depende de como se mire. or ignoring a work of abstract art to ­allowing • When the artists plays with materials, ideas and solutions come up. Using artworks with narrative imagery, this curiosity about it to surface may mean the • . . . its “artistic” nature depends only on the name of person who made it, • NO! YEP” valuable approach supports the viewer who beginning of a new relationship with art for not on what it looks like! • Quantum physics is perception—anything can come from anything. is new to looking at and thinking about art “It forced me to slow down. that viewer. This encounter may serve as an • I never thought of everyday objects being “art” by finding entry points through developing . . . I wouldn’t have given it a • As we discover new ways to reproduce thoughts and feelings about introduction, if not to abstract art itself, then • . . . only if you want it to be the “story.” Based on research by Abigail second chance because I don’t science, we create art. to a new way of looking at and considering • . . . before you can answer this question you must learn about the artist Housen, this is Stage 1—Accountive in her • Everything is art. like abstract art, but I looked a the art. This is a shift we seek to continue theory of aesthetic development. We realized and his intentions. • I don’t get this question. lot more than I would have.” developing, along with creating activities that we were designing ways for the visitor with • Art is around us each day. This reminds me to look closely so I will see it. encourage visitors across a wide range of less art experience to engage with abstract —visitor comment 2009 experiences to look at art in new ways. art. According to VTS, lessons do not include showing abstract art to these viewers because they may imagine a story when the artist does not intend it to be there. Though visitors were

18 RESEARCH AND EVALUATION 19 TRANSFORMATION LAB

Where evaluations took place A variety of approaches to evaluation

We were strategic and opportunistic in ­finding Our research-based approach, with visitor places and things to evaluate. We used the testing at the center, helped strengthen the Art Gallery while it was open. When it closed collaboration between Museum educators for renovation, we continued prototyping and art curators. Because art curators and with artworks that were similar to our perma- educators traditionally have different per- nent collection in temporary exhibitions. For spectives and agendas about gallery design, instance, in Birth of the Cool: California Art, visitor research data served as a bridge to Design, and Culture at Midcentury, we tried make informed decisions. Research data often activities with artworks by Lorser Feitelson ­confirmed what might support visitor com- and Karl Benjamin, two artists from the fort and confidence levels as well as increase OMCA collection. We also used posters or people’s willingness to explore and enjoy art. reproductions of artworks in the collection Educators and curators increasingly listened when necessary. to visitors in order to shape details of the Gallery layout and interpretive elements to With the guidance of our evaluation coaches, We developed an archiving structure for While the Art Gallery was closed, a highly best ­communicate conceptual messages and we designed instruments that elicited ­naming all files related to testing each activity ­visible space near a Museum entrance, named PROTOTYPING make activities easy and enjoyable to use. responses about conceptual content using based on the content or working title of the the Transformation Lab, became available questions such as: activity. Team meeting notes, decision logs, for ongoing prototyping. Having this space We employed a variety of evaluation materials used to develop the activity, and all • How much would you say this activity helped allowed for continuing, ­iterative testing over approaches to better understand: associated instruments and data were named you think about art in a new way? the course of nine months. We developed and stored for easy retrieval according to • Effectiveness of conceptual content content and evolved design elements for • If you were to tell a friend what this activity these standards. Summaries were regularly (meeting our learning objectives) two major Gallery interpretive elements, was about, what might you tell him/her? written and reviewed by the interpretive team, Art 360 and the Is it art? Lounge during this • Effectiveness of design and usability with key points for development shared with To determine effective instructional design, period. Details of testing and development (making elements that were intuitive or curators. we asked, “Were the directions for each of for these interpretive ­elements can be found easy to use) in the chapters “One Work of Art—Many the ­activity stations clear?” To determine • Preferences of visitors (making elements Experiences: The Art 360 Gallery” on page 51 ­visitor ­preferences, we used number scales to that were interesting or enjoyable) ­measure “How enjoyable was this ­activity?” and the “Is it art? Lounge” on page 71. and used surveys to determine visitor ­preference regarding placement of specific objects, sequences of steps, or types of information desired. For design and usability, we often observed and noted visitor behav- ior. (See Appendix C for “Sample Evaluation Instruments.”)

20 RESEARCH AND EVALUATION 21 When gathering data from visitors . . . to feedback on the actual activity will better Conclusion RK&A’s summative report of the Gallery of inform next steps. California Art* from the summer of 2010 • Get an evaluation coach to hone each We were continually surprised, inspired, and found that some interpretive elements suc- test’s focus, methodology, and language • Don’t forget to meet basic needs first by enlightened by visitors’ responses to our cessfully “. . . provided visitors with a new way on the instrument or interview if you are making visitors welcome and comfortable proto­type interpretive elements. Ultimately, to experience art,” and that, “Four-fifths of not familiar with the evaluation process. with reassurance that there is no right or their feedback shaped both the content and interviewees described leaving the Gallery The way a question is phrased has a strong wrong answer and by providing seating as design of the Gallery experience. with positive thoughts and feelings, including impact on the feedback you receive. often as possible. When developing content for testing, our feeling welcome in OMCA, wanting to revisit • Don’t be shy. Just start getting feedback • Limit what you want to know from each test ­recommendations are to focus on activities and bring others, and being inspired to create­ from visitors. If you don’t have a written event to one or two objectives. The data you that provide visitors with opportunities to: art.” Efforts to provide ways to engage all receive from visitors can become muddled if instrument, do the activity together visitors—regardless of how experienced they you look at too many variables at once. with other staff or visitors to help • Look closely at artworks (e.g., be guided by are with looking at and thinking about art— articulate questions. audio narratives, sketch or write responses, will continue as we use audience feedback to • Clearly identify the specific objectives of search, match—anything that requires shape the Gallery experience. each test. Are you testing for development • Educators often initiate evaluation, but looking at the artwork, rather than being of content that communicates concepts? beware. Shake off the “educator” stance satisfied with the activity itself) Or, do you aim to make final content easy to when doing interviews. So as not to bias use? Make sure your evaluation team agrees the visitor, don’t give information about the • Look at artworks in new ways (e.g., overall scope and purpose of the evaluation about the purpose and objectives for each provide context through broad historical, *RK&A, “Summative Evaluation: Art Gallery,” 2010. test event. beyond: “We’re developing something new, interdisciplinary, or personal perspectives and your input would be valuable.” via text, audio, or video elements) • Keep objects familiar and concrete when inviting visitors to consider new, abstract • Keep your focus on the test. Don’t answer • Voice opinions about art (e.g., write ideas about those objects. visitor questions about exhibition content comments and post them, vote, record or other unrelated topics until the evaluation audio or video responses—all generate a • Try to keep each instrument to five to eight is completed. presence of “visitor voice” in the Gallery) questions and interview time to about ten minutes or less. When recruiting visitors, be • Provide young children with an activity, • Share experiences with family and friends forthright about the length of the interview such as a puzzle or drawing materials, (e.g., search, draw, choose or vote, listen to so visitors can know what to expect if they while parents, caretakers, or older children ambient sound, use multiple headphones, agree to participate. participate in the interview. touch, build, match, and keep any products they made whenever possible) • You may find it tempting to ask visitors • Give the visitor a bright sticker that is visible hypothetical questions (e.g., “If we added to other staff if more than one evaluation • See and hear responses of other visitors and a movie here, would you watch it?”), but is happening at the same time. This will Museum staff that promote dialogue about often these types of questions encourage a indicate that this individual has already art (e.g., read comments on boards or in pleasing bias and are hard to trust. Sticking participated in (or declined) an interview, so journals, listen to recorded conversations by he or she won’t be asked again. visitors or curators)

22 RESEARCH AND EVALUATION 23 Listening to Teens No surprises Cool Remixed exhibition Like many museums today, OMCA wants to In order to continue exploring the interests Evelyn Orantes, find better ways to engage with teenagers and issues of teenagers, education staff Cultural Arts Developer and understand their perspective. As part organized Cool Remixed: Bay Area Art and of our transformation process, we designed Culture Now, the first teen exhibition on view several activities to get the ball rolling. First, in the Museum’s prestigious Great Hall. Cool we conducted a focus group with youth ages Remixed was created to serve as a cultural and thirteen to twenty in the Gallery of California historic counterpoint to the traveling exhibi- Art before it was de-installed. Not surpris- tion Birth of the Cool: California Art, Design, ingly, most of the teenagers felt that the and Culture at Midcentury, organized by the Gallery was not welcoming or comfortable for Orange County Museum of Art. Cool Remixed a variety of ­reasons. There were few places was also the laboratory in which we could to sit. It was too quiet in the Gallery, and they experiment with community co-creation and felt they couldn’t talk at a “normal” level with collaborative processes that could inform the each other about the art. The all-white Gallery redesign of the galleries. walls were “strange”; they couldn’t think of We invited five youth organizations, including any other places that had all white walls. a local high school, to participate as partners One young woman said it reminded her of and co-creators of the exhibition, which felt a hospital. like the best way for us to facilitate ­ownership and be transparent in our process. The ­partnering organizations brought creativity, new ideas, fresh approaches, and talent to the table.

The result was a contemporary spin on the idea of what is cool now that reflected the aesthetics and diversity of youth in the San Francisco Bay Area. Each group produced an installation or individual artworks for the exhibition. Everything from section titles to the ­curatorial statement was inspired or ­created by youth. Lyrics from popular songs of different genres were selected to represent

EXHIBIT PROGRAM SPACE

24 LISTENING TO TEENS 25 Feedback of the list. From their perspective, the three From their perspective, the three things you need to attract youth to museums We invited teens back to a second focus group are music, food, and hands-on activities. things you need to attract youth during the run of the Cool Remixed exhibi- tion and asked them to comment on how This final focus group feedback will inform to museums are music, food, and we incorporated their feedback. During this our efforts with the continuation of Loud hands-on activities. exhibition experience, the teens felt like the Hours— a pilot program that will start as a exhibition space was “comfortable” and a quarterly event co-created by youth partners place where “you can express yourself without from local organizations. Loud Hours will allow being judged.” Cool Remixed was described the Museum to continue to benefit from the as being creative, colorful, a good hangout ­creativity and innovation that comes from space, and a place where they could meet youth and, in return, provide them with a ­students from different schools. The youth forum for public expression. also enjoyed ­having programming as part of the exhibition experience. the different elements­ of the exhibition and DJ station Loud hours After reopening the Art Gallery, we held one Conclusion replaced the traditional curatorial statement. Another experiment was the “School of On Wednesday afternoons from 3 to 5 p.m., last youth focus group to see how well we And yes, the white museum walls were painted The insights we gained from the initial youth Remixin,” which consisted of a turntable we experimented with Loud Hours—a time were able to incorporate what we learned in a color palette inspired by colors in the art- focus groups mirrored the information we ­station that was facilitated by a DJ from one of in the Cool Remixed exhibition when teen­ into our Gallery. Staff observed that with the works ­produced by the youth artists. received from our other advisory councils and our partnering youth organizations. The youth agers and other visitors could participate in new media there were more natural, ambient became the tipping point that fueled the inter- We experimented with ways of ­animating the DJ was on hand to teach visitors basic DJ skills a less-hushed Museum experience. During sounds that may make youth feel like they pretive team to advocate for seating, places to exhibition space and supporting a broader and to serve as an interpreter of youth culture, these hours we played with different types could talk in a normal voice in the Gallery. lounge, and color in the design of the new Art range of program experiences. For example, bringing the exhibit content to life. People of of programming to turn up the volume in the We recruited a group of youth from the local Gallery. Cool Remixed allowed the interpretive we built a stage at the center of the ­exhibition all ages were drawn to the station and some of Gallery. The programs ranged from lower-key YMCA to come experience the renovated team to have a space to play with these ideas space to incorporate spoken word, beat box­ the DJ’s best students were visitors with lots events like open mic to having­ each participat- Art Gallery. The feedback was positive, and and prototype them with an audience that we ing, and TURF dancing demonstrations. (Beat of grey hair. In addition to her responsibilities ing organization host a particular week and this time their comments focused more on wanted to engage and celebrate. These ideas boxing is the art of producing drum beats, in the exhibition, she helped promote the exhi- showcase their talented teen performers. the ­artwork in the Gallery. What was striking evolved to become part of the new Gallery of rhythm, and musical sounds using one’s bition and related programs through her social Members of senior staff and the Education was that no one mentioned anything about California Art. Two lounges, plenty of seating, mouth, lips, tongue, and voice. TURF dancing networks. We also invited one of the partner- Department facilitated special training to not having enough seating, and they were and brightly colored walls represent the voices involves fluid movements, pop-locking, gliding ing organizations to create a teen lounge that ­prepare our guards for this change of behavior pleased with the colors on the walls, noting of our visitors in the Gallery and serve as a from place to place, and sharp hand gestures replaced the traditional resource area we often in the galleries. that this made the Museum different from reminder of the role visitors played in trans- called “tutting,” similar to ancient Egyptian design for our exhibitions. Teenagers devel- other museums. What remained a major piece forming our Museum. imagery.) When the stage was not being used, oped activities for their peers to use, videos, of feedback was sound in the galleries. When it was covered with big beanbag pillows to zines, provocative short stories, and poetry. asked what would encourage them to come ­provide a different type of seating area. back and invite friends, music was at the top

26 LISTENING TO TEENS 27 I love how inter active everything is. It asks a lot of questions of the viewer . INTERPRETIVE EXPERIENCES And that, in my opinion is art.

visitor comment

28 THE ART 360 GALLERY 29 Inviting Visitors into the Conversation About Art: Labels

Mary T. Faria, Arts Innovation Project Coordinator

From very early phases in the planning,­ Early research ­education staff wanted to create an approach In 2003, a small Art Lab space in the Gallery to labels that would best promote an of California Art was devoted to interpre- experience of art for visitors rather than tive prototyping before the Gallery closed primarily serve traditional curatorial objec- in December 2007. For the first three years, Stepping into [an] art tives of ­exhibiting art. We tested a range two small exhibits of eighteen Dorothea of approaches to content and to an overall Lange photographs taken from the 1920s exhibition can be like system for labels in the Art Gallery by gather­ to the 1960s were displayed with a variety ing data from visitors about readability and stepping into the middle of extended labels. Some labels had refer- general understandability of content, by ences from literature, such as a quote by ­conducting informal focus group sessions of a conversation that John Steinbeck paired with photos of the with community advisors about content and Depression. Others contained content infor- began without you and ­translation approaches, and by seeking advice mation and a question to encourage a closer from visitor studies experts. All of our research is being conducted in a look at the photo. The following is an example was analyzed by educators and reviewed by of a label that included both Lange’s notes collaborative teams of educators and art cura- secret language. about a photograph of Maynard Dixon and tors. It was then implemented with the goal of curatorial comments: engaging a wider range of diverse visitors in Jaime Cortez, “conversation” with the artists who produced “[Maynard had] a remarkable facility and an extraordinary visual memory, beyond anything artist and guest writer the art and with the curators responsible for I have ever encountered. . . . That very narrow, for labels in the Gallery selecting and organizing the artworks. flexible hand of his could put anything he wanted on of California Art a piece of paper.”

—Dorothea Lange

Lange married western painter Maynard Dixon (1875–1946) in 1920. Dixon was an established artist specializing in images of the southwest, particularly Native Americans. Dixon and Lange divorced in 1935.

30 LABELS 31 A label for a photograph showing braceros had From a two-day intercept survey by a museum Shaping the label content for the renovated Gallery To this label hierarchy we added: a quote from a community member as well as studies graduate student, we learned that We wanted visitors to feel welcome, and we provided label • Bubble Labels, each to provide the a statement to encourage visitors to look more 88% of visitors who read some of the labels information designed to help them make their own mean- personal perspective of one of fourteen closely at the work: found the labels helped improve their under- ing and have their own experience rather than art-historical different authors, including Jaime Cortez, standing of Lange; 5% considered the labels “We found out that war broke out when they information that would lead them to a “correct” understand- our guest writer, written in first-person attacked Pearl Harbor . . . [and] the United States too simplistic or aimed at children. ing or experience. voice, signed, and appearing in comics-style started sending their hardworking people to war. The agricultural fields were without people, so they As a part of this prototype, visitors could fill dialogue bubbles. These would accompany Working from a hierarchy of five label types created by put in the newspapers that they were hiring.” out comment cards that posed questions, other labels and offer other perspectives the original design firm of Gallagher and Associates, we —Jose Cruz, who came to the United States as a such as: “Do these written labels help you on the works. developed a system for all exhibit text. We identified the bracero at the age of 18. understand Dorothea Lange’s photographs following labels: Note the tags worn by the men as identifying work better than with no label?” or, “What did you permits. learn about Dorothea Lange that you did not • A Panels, written by art curators, to orient visitors to know before you visited this exhibition?” From the Gallery’s three largest, organizing themes (Land, forty-five cards, 85% of the respondents People, Creativity) viewed the labels as either helpful or adding to • B Panels, also written by art curators, to introduce LANGE ROOM PROTOTYPE the experience. Visitors stated: visitors to thematic connections among artworks in Yes! I spent more time studying the photos, the subsections (bays) of the Gallery backgrounds, faces, postures-details—than I would have without the prompting of the labels. • C Panels, mostly written by our guest writer Jaime

For the photos with strong emotional content, the Cortez, with a few written by art curators, to make literary quotes are very effective. connections among subgroupings of artworks within bays

Absolutely. Yes. I always like a certain amount of • D Labels, written by Jaime Cortez with a few written by contextualization—the who, what, when, etc.—and art curators, to provide extended text about individual then the interpretation can flow as a point of departure from the labels. artworks, most often including historical context, technical process, and artist’s voice or perspective Yes. It provides some context to what I’m viewing and insight into the soul and heart of the artist as a • E Labels, generated by art curators and an exhibition person, which continues to make me think about the assistant, to provide basic identification information for an importance of art in general. individual artwork (with groupings of object information There were two visitor cards that stated, on “gang” labels) (See Appendix D for “Wall Text Content “I think you tell too much,” and “These are Generation Guidelines.”) P

fine for kids, not adults.” hoto Bruce Conner (1933–2008), Spider Lady House, 1957–59. L : M.

Mixed media. Acquired through F ee funds provided by the Collectors atherree Gallery and the National Dorothea Lange (1895–1965), First Braceros, Circa 1942. Endowment for the Arts. A79.143 Gelatin silver print. © The Dorothea Lange Collection, Oakland Museum of California, The City of Oakland. Gift of Paul S. Taylor. A67.137.93101 32 LABELS 33 The Denver Art Museum provided inspiration for alternative graphic Visitor input Advisor input 2006 text tested with visitors early 2007 A Panel text in Gallery 2010 presentations for labels in the Gallery, We set about organizing content for the labels We sought guidance from our community We began by developing the content of the such as a reproduction of an email approximately one year before opening. In advisory councils in early 2007. The council larger panels so that visitors could navigate between a curator and an artist California Landscapes CALIFORNIA 2006, curators had written content for most members gave us two major directives: the Gallery and understand the rationale for containing the seed conversation as From Wilderness State to Real Estate LAND labels in the Gallery using generally accessi­ groupings of artworks. We sought advice an introductory panel to a temporary California’s landscape has inspired artists California’s rugged coastlines, barren • For a specific artwork, include content ble language. However, with receipt of the from museum consultant Beverly Serrell in exhibition. This informed our Bubble for centuries. A rugged coastline . . . soaring deserts, jagged mountains, and bustling combining historical context, artist’s inspi­ Irvine grant, we began to test this content with redwoods . . . barren deserts . . . jagged urban centers have inspired artists for this effort. Via a set of staff workshops, she Label concept (first-person perspective ration or perspective, and technical process ­visitors and found that, even though ­curators coached us through the process of articulat- mountains . . . and bustling urban centers generations. signed by the author in the form of a make California one of the most inspiring information. (This confirmed visitor prefer­ had avoided heavy art-historical terms, some Like the diverse landscape itself, these ing the Big Ideas that were already driving the and varied landscapes on earth. ences expressed during preliminary testing.) comics-style dialogue bubble). text was still confusing. Random cued inter- artworks show a variety of styles, media, organization of the Gallery. views revealed that direct connection to the Over time, people have changed the and time periods. As the land has changed • Translate only the largest orientation panels character of the land. But California’s over time, artists have mirrored those works on view was not made explicit and for the three theme-based sections of the evolving landscape, past and present, changes. ­metaphors that seemed obvious to staff were endures in the work of its artists. Gallery, presenting a welcome message not understandable to visitors. to local English-, Spanish-, and Chinese- speaking communities, leaving translation This early visitor feedback helped identify the of other wall text to alternative forms such need for critical changes. In 2007, we began The voices of experts seem so monolithic and then as print or digital. to consult community advisors and visitor when they disagree, you realize that there are cracks in studies experts who informed our strategic We also organized a creative convening we the material and you have some room. . . . having those approach to communicating the overall orga- called Conversations About Language—an disagreements gives me as a participant . . . a sense nization of the Gallery and helped us articulate informal round-table discussion—in January that maybe I can add to it. Maybe I can figure out guidelines for the team of writers generating 2007, facilitated by our principal consultant, ­something here. content driven by visitor questions. Kathleen McLean. Those who attended gave — Kathleen McLean, Arts Innovation principal consultant, at the their perspectives that served as touchstones Conversations About Language convening Testing revealed that visitors did not under- for label development over the next two years. stand that the large A Panel was an orientation Based on what we learned, we ultimately to an entire theme-based section of the incorporated into our label guidelines remind- I never want to be told in a didactic way what a piece Gallery. Often, visitors assumed it referred ers to use language that welcomes visitors means, but I’d really love to know what the artist’s only to the artworks immediately adjacent to into our “home,” encourages viewers to value intentions are. To me, that’s a totally different thing. the prototype panel. Visitors also found the their own responses, and portrays artists as term “Real Estate” confusing in this ­context; — James Kass, Y human beings. About Languageouth convening Speaks director, at the Conversations they interpreted it to mean housing and ­rele­vant only to an urban landscape.

34 LABELS 35 Working with Beverly Serrell, educators and The purpose of our label program art curators articulated the Big Idea for the in order to satisfy visitor The Big Idea With the goal of welcoming visitors into the To create labels that . . . Art Gallery as “What is California art?” Over ­questions such as . . . space as well as into the “conversation” about a period of ­several months in 2008, staff What is a Big Idea? It is one complete, non- art, we were determined to create labels that ­developed a related Big Idea for every major compound, active sentence that identifies would: section and subdivision of the Gallery. These a subject, an action (the verb), and a Provide organizing themes in the Why are these artworks together in served as a type of thesis statement for com- consequence (“so what?”). • Help visitors navigate the space and see Gallery as a whole as well as in this area in this arrangement? municating to visitors the vision and intention connections between the artworks smaller subsections of the Gallery Who is it for? It is primarily a guide for the for each of these areas through the labels. Why are these artworks grouped exhibition or program development team, not • Help visitors make deeper meaning for more together in these smaller rooms? the visitors or participants. personal experiences of art • Encourage visitors to understand What does it do for the team? It defines curators as individuals who make Provide insight into curatorial­ Why is this even here in the and limits the content, gives direction and informed choices based on personal choices by speaking in first Museum? momentum to the concepts, and frees the viewpoints and creative visions ­person and signing selected labels team to creatively express the idea in as many (transparency) Whose point of view is this? modalities as are conceivable and are spatially, • Help visitors understand the role of choice and perspective of curators, resulting in financially, and temporally possible. the particular selections and juxtapositions What is this in front of me? It’s not about simplicity. It’s about clarity. they view in the Gallery Provide historical context, input from artists, and technical process • Provide a wide range of perspectives information for individual artworks What motivated the artist to make —Beverly Serrell about artworks that evoke a presence this? How was it made? of different voices

With these intentions, supported by our overall body of research, we arrived at clear Provide encouragement for various But why does this matter? Where are ­objectives for our label program. ways of looking at and experienc- the other perspectives? ing art by evoking the presence of diverse voices Is there a right way I’m supposed to look at this artwork?

36 LABELS 37 Label strategies Many artworks, many writers— Content from the art curators writing and editing From the above-described research, we • State titles and describe relationships The art curators generated content for the C Panel text in Gallery 2010 ­identified the following key learnings: among artworks using conversational For up to two years before opening, educators A Panels and B Panels, whose primary pur- language in approximately 80–120 had been collaborating with curators to shape pose was to explain the rationale for the • Organize thematic sections of the overall words for introductory panels to mini- the juxtapositions of artworks throughout groupings of artworks, and extended text Gallery and thematic connections in exhibitions (B Panels) and subgroupings the Gallery. We wanted to represent a range labels for selected individual artworks of subsections by articulating the Big Idea(s). within these (C Panels), (e.g., speak to of ­artists and subject matter so that diverse their choosing. The art curators also wrote (These help clarify our intentions for themes why the works belong together; describe visitors “see themselves” in the Gallery. In some C Panels, whose purpose was to explain and relationships among the works of art.) the essence of an art movement or how 2008, we also agreed that the Big Ideas subgroupings within bays when a group • Limit the narrative on each of the three the named movement evolved, without would authentically drive label content. The presented a good opportunity for writing a P hoto thematic orientation wall panels (A Panels) assuming visitors understand references to label-writing process was grounded in the first-person statement about those artworks’ Hung Liu (Born 1948), Still L : M.

to fifty words and explicitly state that these such movements). Point, 1988. Oil on canvas. F ee art selections curators and educators made significance. These C Panels were written in panels relate to thematic groupings of Acquired through funds atherree together, and single artworks or groupings first-person point of view and were signed to • Provide a combination of historical context, provided by the Collectors multiple artworks (rather than to the two were chosen to have extended label text. meet our goal of transparency and to encour- artist’s inspiration or perspective, and Gallery. A99.17 works immediately adjacent to the panel) Based on the challenges and opportunities age ­visitors to be inspired to make their own technical process information on labels using conversational language. each work or grouping presented, we began ­meaning of artworks. about an individual artwork (D Labels) to assign the label type and label writer to • Translate the largest orientation wall in approximately 60–80 words. Provide [Prototype: Artist Voice] the target artworks. panels, providing a welcome message to an image of the artist to promote local communities through presentation understanding of diversity and humanize Writing the final content for the Art Gallery in English, Spanish, and Chinese, using the artists. labels began in May 2009, one year before the most appropriate terminology for the • Provide a range of perspectives (voices) opening. There were fourteen writers ­(internal intended communities and avoiding literal about one artwork in approximately 60–100 and external), two editors on contract, translations. (The Museum overall decided words that encourage a variety of ways to and review teams consisting of an OMCA to incorporate three languages into the Art, think about and experience art. ­consultant, four educators, and five art History, and Natural Sciences Galleries, with ­curators. The writers included OMCA history • Use language that communicates complex each Gallery using a somewhat different and natural­ sciences curators, the staff con­ ideas in simple terms (as if explaining to a [Prototype: Curatorial Voice] approach. For the Art Gallery, we decided serv­ator and ­registrar, current and retired family member); speak to a wide audience, to incorporate translation in directional OMCA art curators, OMCA advisory council from a middle-school student to a signage, A Panels, and all interactive media. ­members, an artist’s family member, and the university professor. For details about the translations included guest ­artist/writer on contract. in the Gallery, see the “Translations Traducciones 翻譯” chapter of this book on page 45.)

LABEL PROTOTYPES

38 LABELS 39 Content from other OMCA staff Content from non-staff writers

History and natural sciences curators were As art registrar, I keep track of the art and its condition. Writers from the community included to the content guidelines, we also asked him invited to choose artworks of interest to them I can sometimes learn more about the history of an artwork Jennifer Bates, an artist and member of the to generate personal commentary on his from its back or bottom than its front. Here you can see that to write label content from the perspective of OMCA Native American Advisory Council, choice of artworks; ones that would best offer the artist reused an old piece of paperboard he had previously another discipline. The artworks ­bearing these painted on. The brown residue at the edges reveals that a and Amy Jukes-Hudson, daughter of artist him creative opportunities to respond. These labels ranged from works by Miné Okubo backing sheet once covered this other painting. Robert Hudson whose artwork is featured would become Bubble Labels. Jaime’s demon­ ­(created while she was in an internment camp in the ­gallery. Since early in the planning for strated ability to write in a ­conversational, yet Artists have always used whatever they have at hand, for Japanese American citizens during World sometimes reusing the same materials. In this instance, the the Art Gallery, we had thought of having a poetic and engaging manner­ for past Days of War II) to depictions of California fowl by Smith painting on the back appears unfinished. Though I can’t say ­featured artist or voice from the commu­ the Dead exhibitions proved transferable to of Visalia installed in the self-taught artists why, I can record that information so that future generations nity to write labels. We received further works in the main Art Gallery. This was the can ask, as I did, “Why did he do that?” section of the Gallery to a 19th-century paint- encouragement for this idea in January 2007 beginning of an approach to label-writing that

ing of salmon by Samuel Marsden Brookes. —Joy Tahan, Registrar, Art Department from artists and writers during the creative we intend to continue, inviting and contracting These labels were all written in a personal ­convening on language. with a range of artists, writers, and others to voice, often in first person, and were always write unique and ­creative labels for artworks To prototype our guest writer program, we signed and in bubble format. Additionally, that stimulate ­visitors’ thinking about art in invited artist Jaime Cortez, who had worked the museum’s chief conservator wrote about new ways. with OMCA as a curator and writer for our the visible stages of restoration seen in an Days of the Dead exhibitions—a long-standing artwork, and the art registrar wrote about exhibition and program with deep roots in the reverse side of a painting by Yun Gee that the local community. We began a trial period showed some ­initial painting by the artist. Yun Gee (1906–1963), San Francisco Chinatown (verso), 1927. P

Oil on paperboard. Gift of Mrs. Frederick G. Novy, Jr. with Jaime in the summer of 2009, gener- hoto

ating sample labels for works we selected L : M.

F ee Ruth Asawa (Born 1926),

across the Gallery, ranging from 19th-century atherree Untitled, 1959. Copper wire. ­photography to modernist sculptural works Gift of the Women’s Board. and mid-century abstract painting. Based on A59.74 the prototype work, we contracted with Jaime to generate content for selected C Panels (subgroupings) and D Labels (single artworks) using guidelines informed by research about answering visitor questions and using source materials from curators. After Jaime’s labels were rigorously reviewed by curators and edu- cators for content ­accuracy and adherence­ P hoto

Michael C. McMillen (Born 1946), Aristotle’s Cage, detail, L : M.

1983–92, Mixed media installation. Gift of the artist F ee

and Tracey Shiffman, The Murphy Fund and Members atherree and friends of the Art Guild of the Oakland Museum of California. A92.37 40 LABELS 41 D Label draft text by guest writer

Label guidelines The editing process Man Ray Internal protocols 1890–1976 As the project coordinator, I drafted guidelines Beverly Serrell acted as a content advisor and Rayograph During this period with Beverly as our mentor- • Content was sub­mitted to the copyeditor, The label program will continue to expand and specific to each type of label in the hierarchy editor from October through December 2009, 1943 editor, educators reviewed the suggested edits returned and reviewed by the project experiment with new forms that include visitor to assure that we would consistently meet commenting on approach and wording for a Solarized gelatin silver print and decided whether they were relevant and coordinator. voices and respond to real visitor questions. Museum Donors Acquisition Fund visitors’ most important needs as identified sampling of label types. We began with labels useful in every case. As the project coordina- This rigorous process demands creativity, A72.214 • ­Content was submitted for final approval by by the research, regardless of perspective or for abstract works, realizing they would pres- tor, I was designated to synthesize the edits for strategy, and vigilance from all writers, review- the Art Core Team before production. the entry point chosen by the range of writers ent the biggest challenge in communicating Like an X-ray image, this photogram reveals, A, B, and C Panels (all addressing groupings ers, and editors. However, it is well worth the (twelve to fourteen in all). We gave all writers complex ideas in simple terms. Beverly sent conceals, and edits out information. By of artworks) and present them to each writer effort for the opportunities it affords visitors. composing objects directly onto light-sensitive Labels as a dynamic feature the same basic guidelines for critical ingre- us handwritten edits and gave us examples of for revision, after which they were submitted Strategies informed by research for meeting paper, Man Ray made this image without a in the Gallery dients, with slight variations for the curators alternative wording that might clarify mean- camera. Through this early photo technique, the for approval to the Art Core Team, a deciding visitor needs, combined with a creative vision of other disciplines and for the guest writers. ings for visitors. artist conjures a ghostly effect. Everyday objects body of art curators and educators. The D Since the Gallery opened in May 2010, visi- for providing new and poetic associations For the C and D Labels that he wrote, Jaime become simultaneously familiar and abstract Label and Bubble Label content went through tors have said that the labels are easy to read, between text and artworks, can reach a wide connecting this piece to the work of artists Labels were sorted to include those that would memorable, and convey a sense of “differ- needed to follow the same basic guidelines exploring new art strategies in the first half of the a similarly rigorous review, and the chief range of viewers, whether new to—or experi- appear as standard D Labels versus those that as the other label writers, with the variation 20th century. ­curator of education gave final approval for ent voices” in the Gallery. RK&A’s Summary enced with—looking at and thinking about art. would convey a personal, creative voice and that he could include the essential ingredi- content of these labels. of Exit Interviews (2010) reports that “Most appear as signed Bubble Labels. B ents in any order. The Bubble Labels with the everly Serrell’s comments: interviewees noted that the . . . multiple voices “[First sentence] catchy but does it add info Thus, labels of all types by all writers creative content generated by Jaime or other added depth and meaning to their experience useful for looking at artwork? ­ultimately underwent a thorough review and writers were not subject to these ­guidelines. with the art and helped them feel as if they are “. . . this generalization says more about the revision process: part of a dialogue about art—rather than just a (See Appendix D for “Wall Text Content writer than the artwork.” Generation Guidelines.”) • Writers were given guidelines. ­passive viewer and recipient of content.”

Final version • Content was generated. In the future, an even wider variety of guest writers may add multiple dimensions to Man Ray • Content was reviewed and edited by the artworks and to the Gallery as a whole. 1890–1976 project coordinator for close adherence to Frequently changing labels for specific Rayograph guidelines and style guide standards. 1943 ­artworks may focus on personal perspectives Solarized gelatin silver print • Content was submitted for educator or art of guest artists or guest scientists as they Museum Donors Acquisition Fund curator review. comment across artistic styles and media. We A72.214 • Content was revised by writers or by the have built capacity to produce labels in-house Man Ray made this image without a camera by project coordinator as the editor. as part of the overall transformation effort, placing and composing objects directly on the making quick changes and flexibility more surface of light-sensitive paper. Through this • Content was re-submitted for final approval early photo technique, the artist conjured a possible than ever before, and we will experi- or revision. ghostly effect. ment with this in future iterations.

Everyday objects become simultaneously familiar yet abstract, connecting this piece to the work of artists exploring new art strategies during the first half of the 20th century. 42 LABELS 43 Recommendations When Developing Label Content and Design Translations Traducciones 翻譯

Karen G. Nelson, Interpretive Specialist/Art • Care about your readers. Write in a tone • Give any writer (internal or external) the Lisa Silberstein, Exhibition Coordinator for the Art Reinstallation Project much like speaking to a cherished family choice of which pieces to write about so member. Speak in a way that is meant to passion and personal interest come across share basic information and invite readers to to the reader. Many languages think and observe for themselves. • Edit, edit, edit, then submit for review by Before the transformation of the Gallery of tours, labels, and print materials. We were • Assume readers are intelligent people who both curators and educators, and then California Art, the Museum regularly pro- interested in exploring the use of wireless want to use their “dream mind” as well as edit again. Multiple reviews take longer vided multilingual translations in Spanish and technology for delivering translations, but their “puzzle mind.” Give them touchstones but are worth the time in the interest Chinese—the largest non-English speaking the Museum’s concrete building interfered of information to serve as springboards— of getting to the point in brief, effective communities in the Bay Area—for special with access. places from which to gain orientation language that reflects accurate and ­exhibitions, but did not include translations in before they set off on a personal adventure accessible information. its collections galleries. The Museum provided How much should we translate in a with the artworks. • Employ a copyeditor to use your self- translations in other languages depend- 30,000 square foot gallery? ing upon the content of special exhibitions. • Be curious about what your readers might authored style guide to standardize all final We posed this question to members of our Approaches to our multilingual materials were think and observe. Find out what that is. Let matters of punctuation, capitalization, community advisory councils in a special based on advice from members of our Latino that inform how you write about artworks. etc., and credit lines for images in the ­session on Art Gallery labels and translations. final product. Advisory Council, the Asian Pacific Advisory • Remember that multiple voices are good. We showed them the actual size of the labels Council, and other community members and Multiple approaches are good. Define where • Communicate graphically. Graphic solutions so they could see the amount of space they consultants who collaborate with staff on and when you want to give writers free rein often make all the difference. Graphic take up on a wall and tested several design ­various projects. for individual voice and style versus where elements that define the size and shape layouts and formats. Our advisors recom- and when you want writers to communicate as well as convey significance or presence As we began planning for the new Gallery of mended that we translate only the main in ways that satisfy visitor questions based with words (floating or solid? part of the wall California Art, we wanted to expand our multi­ labels explaining the Gallery’s three themes, on research. (Don’t expect writers to surface or standing out from the surface? lingual offerings. We conducted research to California Land, California People, and answer visitor questions simply by speaking etc.) all communicate meaning as much as explore new approaches to providing trans- California Creativity, because this showed that authentically from their own expertise or the words themselves. lations, reviewing a variety of websites and the Museum was taking strides to welcome sensibility.) articles and conducting email interviews with Spanish and Chinese speakers and acknowl- • Oversee the placement of labels and all colleagues in the United States and Canada. edge the diversity of its visitors. We also • Draft guidelines for inclusion of critical interpretive elements in both the design and The research revealed the variety of ways discussed offering other types of translations information that addresses visitor installation phases to make sure enough museums are delivering translations: cell- through docent tours and handheld devices or questions, always in language visitors space is allocated for them. phone tours, handheld multimedia devices, websites over time. We decided for the open- can easily access. —Mary T. Faria, Arts Innovation Project Coordinator podcasts, computer terminals, and websites, ing we would translate three Gallery theme along with more traditional practices of docent labels, introductory information about the

44 LABELS 45 Gallery and rules, instructions for all hands-on Choosing a translation company Translation recommendations The translation process interpretive experiences, and subtitles for the Versioning Is Not Translation To determine which translation company to The following are some of the key recommen- The translation company was easy to work video elements. use, OMCA gathered input from two focus dations that emerged from these focus groups with and accommodated our schedule, which Another aspect of translation that emerged in our process We translated written materials into Tradi­ groups of community-based advisors, one and informed our translation guidelines. often involved short deadlines and fast and intrigued us was the idea of “versioning.” Versioning tional Chinese and Central American Spanish, with Spanish language speakers and one ­turn­­­around times. They made suggestions The translations should: is using and changing the text to consider how people based on recommendations from community with Chinese language speakers. The groups to assist us in getting the translations that from different backgrounds process information and put it advisors and city and Museum staff, who felt reviewed three sets of Gallery labels translated • Contain active, direct, positive language we wanted, were very accessible, and consis- that these specific language choices would by three different translation companies, to into their own cultural context—what visitors bring to the tently made sure that we were satisfied with • Be sensitive to the political impact be accessible to the largest majority of our determine which came closest to the meaning experience. This new concept excited us all, but we realized their work. of vocabulary non-English speaking visitors. Because spo- of the English and which tone was most appro- it was beyond the scope of our project. We are interested Although the company we used has their ken Mandarin and Cantonese are so different, priate for our Bay Area audience. Advisors • Use simple, but inspirational language in exploring this further and the related question of how do own internal reviewer, we decided to hire two audio elements were translated into both. were asked individually and as a group which (simple, yet poetic) visitors bring their culturally diverse backgrounds to the external reviewers to look over the translations company they preferred and why they thought interpretation of art. • Use accessible language to express and to ensure consistency. This was important it would best serve the Museum audience. convey complex ideas because there is no guarantee that a trans­ lation company will use the same translator • Avoid gender bias throughout a project. Our external reviewers • Avoid use of archaic language (use common, were either people with whom Museum staff current terms) had worked previously or individuals who • Maintain a consistent voice (the same were recommended by translators known by translator from the same translation firm) Museum staff. This additional review phase added significant time to the total produc- One very important recommendation was to tion schedule; however, it provided an added translate for meaning rather than for a literal assurance that our translations were closest representation. The guidelines included rec- to the original meaning and would meet the ommendations for design, preparation of the needs of our visitors. English text, and special notes about how to manage the process.

ADVISORY GROUP REVIEW

46 TRANSLATIONS 47 Breaking down the hierarchy: designing text in three languages Museum staff chose to provide translations in Traditional The future

Our design intent was to present all three language versions in a balanced, equal fashion­ Chinese rather the Simplified form. Traditional Chinese Now that the Gallery is open, we are consider- instead of giving the usual preference to English. We wanted to display the three primary­ characters are more complete, having more strokes, ing the translations and their placement with texts adjacent to one another, as opposed to one primary text with two secondary whereas Simplified is more abbreviated. According to the same advisors who participated in the ­translations. Gordon Chun, the graphic designer, achieved this by creating a cluster of members of the Museum’s Asian Pacific Advisory Council, external review. This is helping us to catch the texts that allowed each to have its own primacy in the composition. The English at Traditional Chinese is used by ethnic Chinese who are any needed changes that were less apparent the top left gave it a conventional “firstness.” The Chinese was set in vertical format, outside of mainland China, such as Hong Kong, Taiwan, before the Gallery reopened. We also brought clearly distinguishing it from the two Latin alphabet languages. The Chinese also started and the San Francisco Bay Area. Simplified Chinese was together members of our advisory councils to at the top right, which is the conventional starting point for that language. The Spanish chosen as the official style in China during the Communist review the translations in the Gallery spaces holds the central position in the cluster, and its first line appears at eye-level for the rule and is used in all public communications and is taught and make recommendations for the next level ­average visitor. The languages are also in different colors to clearly distinguish them. of multilingual materials. The amount and in schools in China. As June Yee, one council member kind of content as well as methods of delivery advised, “For the Chinese people and their descendants will be considered. Translated materials may who lived outside the mainland during the Communist include all labels or a printed or digital Gallery ‘closed door’ policy, the Traditional style is still in use. guide with selected works of art. Going for- As China becomes more connected with the world and ward, we will continue to refine our trans­lation as more mainland Chinese people immigrate to the program by consulting with translation experts West, in time this will change. My guess is in one or two and members of our advisory councils, and generations, the Traditional style will be less common most importantly, by being mindful of the even outside of China. By then, I think OMCA will have multi­lingual needs of our visitors and commu- another reinstallation, and the Chinese writings shall nities as they continue to evolve and change. probably be in the Simplified style.”

48 TRANSLATIONS Artist Larry Sultan 49 “one work of art—many experiences” The Art 360 Gallery

Mary T. Faria, Arts Innovation Project Coordinator Karen G. Nelson, Interpretive Specialist/Art

Our goals

In the new Gallery, we wanted to create The interpretive team’s collective prior knowl- opportu­nities to welcome visitors with all edge influenced our choice of activities to test learning styles (such as visual, auditory, for different modalities. Educational research kinesthetic, and others) and help them feel such as Howard Gardner’s theory of multiple comfortable when looking at art. We hoped intelligences, Harvard’s Project Zero strate- to provide entry points through which visitors gies using games and multiple entry points, “I have the could discover their own personal response visits to inspirational institutions such as to an artwork and know it to be as meaningful the Denver Art Museum and Art Institute of experience with and valid as any other. Chicago, as well as years of experience with visitor responses to activities in OMCA exhi­ All stages of our testing and designing this sculpture of bitions and programs all informed the choice the installation that became “one work of of which activities to develop through testing. art—many experiences” were driven by the not knowing where First we needed to decide what we wanted priority to include visitors who don’t have a to do, articulate the desired outcome, then to start.” lot of knowledge of art but have a high inter- devise an activity and test it. Through their est level. At the same time, we wanted the —visitor comment 2009 feedback, visitors would help us determine space to engage a wide spectrum of visitors the best possible pathway to that experience and to ­create a space for families to touch for them. things, have experiences together, and build confidence in looking skills they could use throughout the Gallery. Last but not least, P hoto we wanted experienced viewers to enjoy

L : M. ­discovering how audio or tactile activities F ee

atheree could heighten or shift their visual experience of an artwork in unexpected ways.

Robert Hudson (Born 1938), Double Time, 1963, painted metal. Gift of the Oakland Museum Women’s Board, Oakland Museum of California.

50 THE ART 360 GALLERY 51 HUDSON SCULPTURE PROTOTYPING

The overarching concept Exploring the jade pagoda liked; why they did not like certain activities; Similar activities, different artwork and whether or how the visual experiences As interpretive specialist for the art depart- We started testing this interpretive element Visitors’ experiences at the jade pagoda • Large enough to be seen from three to five (light, spotlight, searching with a flashlight for ment, Karen Nelson wanted to create a in spring 2008. Because the Art Gallery informed our selection of a new artwork to test feet away animals and other features, etc.) helped them hands-on interpretive installation in the front was closed for renovation, we installed six from January through August 2009. Touching see the artwork in a new way and encouraged • Interesting to view from all sides of the Gallery where visitors would gain tools rough-and-ready cardboard activity­ ­stations samples of materials, hearing or reading more a closer look. for looking at and engaging with artworks. adjacent to a large jade pagoda—a sculptural about the historical context or motivation of • Has variety of textures and details The concept began with a working title of work in the OMCA Natural Sciences collec- We wondered if visitors were taking away any the artist, altering ways of seeing with light or • Able to withstand short bursts of Art Discovery Center (ADC), and was initially tion. This piece offered many detailed features enhanced appreciation of cultural meanings lenses, being able to draw or build according stronger light intended to be a resource area with ­drawers for a focus on looking closely and had ample in this piece that had been carved in China to one’s own perception, and posting com- and kiosk-like stations for technology or background information available to use for with handmade tools in the early 20th cen- ments or responses were all popular with • Sturdy and not easily damaged in case other tools and activities. With the guidance development of related activities. Also, the tury. Besides testing content that encouraged visitors and met our learning objectives. We visitors touched it of Kathleen McLean, the interpretive team piece was located in a protective glass enclo- looking more closely through a variety of installed the same cardboard stations we had • Not represented in other areas of the Gallery decided on something more interactive so we sure and situated in a hallway with low visitor approaches, we questioned visitors about how used for the jade pagoda in our new space or Museum set about exploring a variety of ideas, settling traffic, a place that allowed visitor engagement their experience may have included enhanced devoted to prototyping and evaluation (the • Has sufficient background information on “6 Ways to Explore a Work of Art.” without obstructing other Museum activities. understanding of the cultural significance of Transformation Lab) around a colorful sculp- about the artist for use in interpretation the object. We struggled with our questions ture that would become the focus for the final Each of the six stations contained a differ- and instruments and realized that signage Gallery installation. ent activity: a scrapbook about the history of at each station prompting visitors to have a the object, a colored light that visitors could Curators, educators, a registrar, and a con- visual or sensory experience didn’t contribute turn off or on and see how the light might servator all worked together to articulate the to an enhanced understanding of culture. change the way they saw the piece, a journal following criteria for choosing the artwork that to record thoughts or drawings, a touchable To test further for how to facilitate under- would be tested for the final installation: piece of apple jade (a similar type of jade as standing about cultural significance, we the pagoda), information about different types provided contextual information, asked of jade, and a scrapbook about the cultural­ questions, and invited investigation into very meaning and significance of the animals specific aspects of culture clearly ­evident in represented in the carvings. Over a period of the actual object in front of ­viewers. Ultimately, seven months, we tested approximately twelve we came to understand that ­gauging appre- different activities. Some fell by the wayside ciation of ­culture was an ­enormous and quickly as visitors showed little interest, while multidimensional task beyond the scope others evolved through iterative design and of this interpretive installa­tion and that our development. ­fundamental objectives would remain focused on encouraging visitors­ to look closely and Our questions for visitors primarily focused on JADE PAGODA PROTOTYPE make meaning for themselves. identifying which activities they liked best and why; what would improve the activities they

52 THE ART 360 GALLERY 53 We generated a list of possibilities with twenty- Testing the activities one sculptures and seven furniture pieces. “It’s like origami . . . with steel.” Over a nine-month period, we tested ­thirteen 6. A magnet board for arranging pre-printed We also considered pairing an artwork and —comment by welder about Robert Hudson’s sculpture, Double Time, 1963 different elements with Double Time in a words to provide a game-like way of historical artifact for comparison and contrast ­variety of combinations as well as tested posting responses without generating text or bringing in an artist to create an artwork whether visitors understood that these specific to the space. Ultimately, we selected 7. A tungsten reflector light operated by ­activities were meant to convey different ways Double Time by Robert Hudson because it Robert Hudson, whose sculpture Double Time is featured in our visitors to observe different lighting effects of experiencing art. Instructions at activity is in the OMCA collection, which meant we Art 360 gallery, is a prominent Bay Area sculptor whose work ­stations went through iterations emphasizing 8. A buildable model of the sculpture to focus could use the actual artwork in testing. Robert has been influential among artists since the 1960s.D ouble Time content (Light, Scrapbook, Journal), action to on shape and structure Hudson lives in the San Francisco Bay Area, is a rich and eloquent work that offers many avenues for inquiry: direct investigation (Wonder, Express, Build, so we visited his studio to shoot video foot- 9. A journal to record impressions and its title and flowing forms suggest music, its painted forms defy etc.), and finally, a description of a simple age of the environment where he works and responses to other visitors gravity and the limitations of the heavy metal from which it is action or experience (Touch, Listen, Look, ­interview him about Double Time and his formed, and its movement on the turntable displays the complex- etc.). The title for this area developed into 10. A video of the artist in his studio talking ­process in its creation. ity of thought that Robert Hudson brought to the sculpture to “6 ways to experience one artwork.” about his creative process and how he constructed parts of Double Time The concept for this interpretive installation make it “work” from every angle. Elements we tested: remained constant in all phases of testing— 11. An audio narrative by the artist describing to encourage looking closer and promote Viewing the actual sculpture from many angles, studying the 1. Red and blue colored glasses to change his creative process, early inspiration visitor comfort with experiencing one artwork tactile qualities of its materials, and hearing the artist speak the colors and draw attention to the and influences, and how he constructed in a variety of ways in order to construct 2D/3D illusions in the painted surfaces specific features of the sculpture of his methods, intentions, and influences all add to a deeper ­personal meaning. of the sculpture ­understanding and appreciation for the work. These fragments 12. A running loop of digital images of the are like stanzas in a poem that the poet likes but has not yet 2. A monochromatic model of the sculpture sculpture from every possible angle to “What is it? What is the point? What gave placed in their final form to create a finished work. Hudson works focusing on forms and shapes heighten awareness of the 2D/3D illusions in the painted surfaces and structural him the idea? What was he thinking? like a composer or a poet but “writes” his piece in steel and paint. 3. Music of the early 1960s (e.g., Coltrane, features of the sculpture How was the artist motivated? Lots of Hudson is a quiet man; he lets his work do most of the talking. Brubeck) employing double-time speed questions were answered by the stations.” 13. Touchable steel pieces with surfaces He and his wife Mavis enjoy camping in the California and Nevada 4. A flashlight to spot specific features similar to selected areas of the sculpture deserts, where he finds all sorts of rusted metal and objects to of the sculpture use in future sculptures. He reports that he always has sculpture to provide a kinesthetic sense of the “. . . everyone’s brain is different, so if 5. A booklet containing statements by two on his mind, and when he is not actually welding pieces of metal art materials you have different options people find welders at our construction site about in the process of creating a new sculpture, he is dreaming of one that works.” how the steel sculpture may have been his next work. constructed —visitor comments 2009

—Phil Linhares, Chief Curator of Art

54 THE ART 360 GALLERY 55 We asked a range of questions in interviews • Does this help you look at art in a new way? aimed at understanding the overall effects • What was your favorite activity here If there was an area in the new Art Gallery called “Art 360,” of the activities, and later for designing the and why? what would you expect to see there? delivery of those activities. We also identified preferences for signage by prompting ­visitors • Which activities, to you, are best “. . . 3D art, sculpture more than just 2D flat art. Walk around it to leave running lists of suggestions for experienced together? and see it from all angles.” ­everything from naming the space to record- • Was it clear what to do at each station? What “. . . Thoroughly changed. 360 degrees different.” ing what they needed to know in order to use more did you need to know? any given station. —visitor responses 2009 • Was there anything confusing in the The following is a range of sample questions video/audio? that we found effective in eliciting visitor feed- • Was the video/audio too long, too short, back to inform the content and design for all just right? the stations: Testing the Gallery name • Do you prefer to watch a video of the Finally, we tested the proposed title of the artist or listen to his narrative about the Gallery space, Art 360, asking visitors what artwork while you look at the sculpture they might expect to encounter in such in front of you? a space. A significant number of visitors FINAL STATIONS • What do you think this entire setup is trying responded that they would expect to experi- to convey? ence something that might provide a variety • What would make it more fun? of ways to look at art. Based on this response, we went forward with Art 360 as the name • How would you design this experience? of the space and with “one work of art— • On a scale of 1–6, where would you place many experiences” appearing in English, your experience with looking at and thinking Spanish, and Chinese as the title of the first about art? Can you say a bit about why you interpretive installation. give it that number?

56 THE ART 360 GALLERY 57 The final design the work. We physically separated the three- Conclusion minute video of the artist talking about making With Hudson’s sculpture, Double Time, at • A buildable model of the sculpture repro­ From the remedial and summative evaluations Double Time from the stations once we real- In locating this installation at the front of the Future installations in the Art 360 space will center, the final iteration of “one work of art— ducing the shapes in one uniform color so conducted by RK&A in summer 2010, it is ized that visitors looked more closely while Gallery, we planned that it would heighten the continue to be guided by the foundational many experiences” contains four stations as to focus attention on the forms and the clear that visitors appreciate the ­opportunities listening to the audio narrative rather than visitor’s aesthetic experience and extend into philosophies and goals for this space. We will featuring five activities: structure of the piece afforded by this interpretive installation. Some watching the video—they preferred not having an increased engagement with other artworks invite a wide range of visitors (including those visitor comments about signage for two of in the Gallery. Will visitors be more aware of who don’t have a lot of knowledge of art but • A short audio narrative (approximately • Colored-lens glasses to heighten awareness the video in direct relationship to the artwork the stations have helped us rewrite activity the ways to think about and access a work of who have a high interest level) to engage in a one and one-half minutes) by the artist of the 2D-3D dynamics of the piece and, at the center. We included in the design of the labels after the Gallery reopened. Families art? The RK&A report noted that, variety of activities related to one artwork that describing how he made various physical at the same station, music of the period space a metal comment board with magnets are consistently happy to have a place in encourage them to look closely at that piece. features of the sculpture (Coltrane and Brubeck) that demonstrates as a place for visitors to post comments, Many interviewees said that they especially like the Gallery for hands-on experiences, and We will strive to help visitors build confidence the musical speed of double time. responding to prompts such as, “Share your the range of the activities offered, which invite parents commu­nicate their enthusiasm for • Touchable metal samples with a variety thoughts about this sculpture,” “What is your visitors to experience the artwork from multiple in looking at and thinking about art in general, of surfaces similar to those actually in the We combined the glasses and music based having these opportunities immediately at the perspectives using multiple senses.” It went on to and we will encourage visitors to understand favorite part of this sculpture?,” or “What is note that, “Several interviewees conjectured that metal sculpture on indications that the combination of these entrance to the Gallery. Comments posted that there is no single or right way to experi- your favorite activity here?” their experience of Art 360 would make them want activities heightened visual experience of on the comment board frequently express to learn more about or ‘get inside the head’ of the ence any artwork. We worked with the artist Robert Hudson on gratitude to the Museum for providing such a other artists represented in the Gallery.* the design of the space. He and his daughter, space or contain a line about a family or other Amy Jukes-Hudson, visited the Museum when shared experience. *Randi Korn & Associates, Inc., “Exhibition Evaluation: Remedial Evaluation of Select Exhibit Areas, Gallery of the space was being designed. Because of The RK&A report notes that “visitors experi- California Art, 2010” (unpublished manuscript, Oakland space limitations, the sculpture needed to be Museum of California, 2010). ence the comment board as ‘welcoming’ and placed against a wall. Hudson suggested that ‘inclusive’ . . . encouraging them to ‘reflect’ ART 360 FINISHED STATIONS we put the work on a stand that would turn and ‘think about’ the art.” slowly so all sides could be seen. (We ­probably would not have had the courage to do this Some visitors perceive the space “for kids one work of art—many experiences: Art 360 on our own.) The fabricator constructed this only,” or state either they “were not attracted as well as a coved wall for the corner, so visi- to the sculpture’s use of bright, primary What is your favorite activity here? tors now see the sculpture with a seamless ­colors,” or “did not find Robert Hudson’s piece background. The activities around the artwork to be . . . interesting or provocative.” This infor- “. . . velcro [buildable sculpture] because it is the most interactive and fun give visitors ideas about how to approach a mation may guide the choice of artwork for the activity in this exhibit.” sculpture, but the movement of the work itself next iteration. is also of great interest. Hudson’s daughter “I made my own ‘double time’ in art class inspired by you.” contributed a panoramic photograph of her father’s studio, which we installed on one wall Share your thoughts about this sculpture. of the space, giving visitors a glimpse of the artist’s studio and the variety of materials “Building, listening, and seeing—Awesome!” he uses.

—visitor comments 2010 58 THE ART 360 GALLERY 59 Seeing Ourselves in the Gallery of California Art

Karen G. Nelson, Interpretive Specialist/Art

Self-portraits After one month, we did not see a significant number of responses so we revised some The You Are Here digital interactive is one of of the activity prompts and added a mirror the most successful interpretive elements in with the heading, “Look in the mirror and the new Gallery of California Art. This interac- draw yourself here.” This exercise attracted tive grew out of considering how visitors could a greater range of responses from visitors “see” themselves in the Gallery and how visi- and revealed that the activity needed to be tor awareness of the creative process could personally relevant to be engaging; writ- be increased. Visitors draw themselves using ten responses totaled 205, with 662 drawn fingers on a digital touch screen. Their saved responses. Because of the popularity of drawings are then displayed on a digital screen drawing, we decided this was an important on the California Portrait Wall, amid a collec- activity to include in the reinstalled Art Gallery, tion of twenty-four artworks hung salon style. especially with California People as one of the Gallery’s themes. Early research These opportunities for drawing and looking We developed this digital drawing element encouraged visitors to participate in activities by testing a variety of unmediated activities that related to the Art Gallery objectives of: in a twenty-foot square Art Lab space in the Gallery of California Art for three months • Fostering skills for diverse learners to “There’s looking at art before the Gallery closed in December 2007. experience and interpret art in a variety of We began this testing with a small exhibit ways (“I think it is pretty fun. I like to draw, and there’s having called Abstracting the Figure that was art appeals to me.”) the opportunity to designed to show different levels of realism • Increasing observation skills for that artists use when they draw a person. We experiencing art from multiple perspectives go beyond touching displayed four artworks from the collection (“I think red is an important color because that showed some abstraction of a human it pops up in unexpected places and adds it to maybe get figure. As prompts for visitors, large panels on brightness and color to the painting. In some behind the thinking a separate wall posed questions that focused ways, it’s a shocking color, but it works in the on the artistic process (“Why do artists use painting.”) process of the artist different kinds of lines?”), personal opinion­ (“Why do you think artists draw people in • Fostering intergenerational learning (“I like . . . and I like that.” ­different ways?”), and creative ­expression how the kids get to draw on paper and add (“Can you draw a person using only 3 lines?”). their ideas.”) 60 THE ART 360 GALLERY —visitor comment 2010 61 Additionally, visitors noted that they liked look- Upkeep ing at other visitors’ drawings and comments. Colorful sticky pads were provided for visi- (“Display of visitors’ work is always interesting tors to write on and place on the large panels. and engaging.”) Although drawing on paper was a popular Responses to the Abstracting the Figure activity, one of the main challenges during the unmediated activities also revealed much prototype testing was Art Gallery main­tenance about the way visitors connect to the art. that was done up to twice a day in the Art Many visitors felt comfortable noticing par- Lab area, including clearing clutter off the ticular details in a piece (a specific color or table, checking pencil leads in pencils, check- figure) and commenting on the emotional ing the supply of paper, sharpening pencils, impact of the work (“it is dark gray and has and organizing comments. This encour- a sad, dreamy look”). They recognized that aged us to consider a digital solution for the artists made intentional choices about the final interactive. PROTOTYPING images they created and understood that this One concern for both curators and educa- was a product of their particular perspectives. tors was how to encourage visitors’ personal Far fewer were interested in judging the work’s expression through drawing without having merit (whether it is objectively good art), in hundreds of pieces of paper all over a section analyzing the artistic technique used to render of the Museum. As we explored an ­effective the work, in speculating about the symbolism way to make this happen, we considered in the work, or in commenting on the historical ­various online drawing sites, such as significance of the piece. http://sketch.odopod.com (accessed on Because Abstracting the Figure was up for August, 4, 2009). We then asked the media three months, the questions or prompts could developers, BBI Engineering, Inc., to produce be changed and refined often. For instance, software customized to the Museum’s design the prompt “Can you draw a person using only and functionality guidelines developed by 3 lines?” was modified to, “Can you draw a the OMCA art media producer. Staff tested person using only 5 lines? How about 3? 1?” several iterations of the screen layout to This seemed to be a popular challenge and evaluate ease of use and clarity of language. encouraged many wonderful contour draw- Instructions were translated into Spanish and ings from visitors. The prompts were printed Traditional Chinese because these are the two on paper and attached to the large panels with dominant languages in the San Francisco Bay removable adhesive so the questions could be Area after English. easily replaced.

62 SEEING ourselves 63 The final design Success

The current You Are Here digital interactive FINAL DIGITAL SCREENS The goal for the You Are Here drawing activ- has a mirror on top and a drawing surface ity is to have visitors regard the Gallery of below it. Visitors draw themselves on the California Art as a lively place for them and screen using their fingers; they can then see their families. Visitors can look more closely their drawings on the salon-style hanging of at themselves as they draw as well as at the portraits on two framed digital screens as part portraits from the collection that are near the of the California Portrait Wall. By adding the drawing screen. You Are Here has been popu- digital screens, visitors can literally see them- lar, with more than 200 drawings per week and selves in the Gallery. Visitors can save their sometimes lines of visitors waiting their turn to drawings to the Museum computer as well as draw. The saved visitor portraits are beautiful send the drawings to themselves via email. and at home among the prized artworks—very few look “childlike” and most seem lively and In addition to the opportunity to make a digi- fresh. This connects to the Gallery objective of tal drawing, visitors can also review a digital increasing awareness of how art is made and library of past drawings on an adjacent screen. the creative impulse in California. When they select a drawing, the screen in front of them shows the physical marks the visitor Because of the simplicity of the physical made in the same order he or she added them mechanism to draw and save a portrait, visi- to the portrait. Almost 75% of visitors in a tors feel comfortable about trying it and feel small survey in 2007 said they were very inter- successful in their creations. Therefore, we do ested in seeing the responses and comments not plan to change the exhibit’s basic design of other visitors. These side-by-side screens and process. What can change is that this for drawing and observing are also useful for In his review of the Museum, art critic Kenneth Baker wrote: digital interactive is currently only physically in the social experience of visitors who often the Art Gallery. Future plans include replicat- California People has a wall full of portraits as its centerpiece—paintings come in pairs or small groups. and photographs from every historical corner of the museum collection. ing this or a similar experience on the Museum Two video screens hang among them, displaying at random self-portraits website so participants can use their home that visitors have made—and inviting others to add theirs—at an interactive computers and contribute to an online gallery. terminal just to the side.

Old-school museum-goers may dismiss this feature and others like it within [the] museum as pandering gimmickry. But it may give people who find it engaging a taste of the difficulty of self-portraiture that they might never have otherwise.

—San Francisco Chronicle, May 1, 2010 *

*Kenneth Baker, “Oakland Museum reopens with open invitation,”­ San Francisco Chronicle, May 1, 2010, http://articles.sfgate. com/2010-05-01/entertainment/20882988_1_museum-collection- california-creativity-portrait. 64 SEEING ourselves 65 ArtSpeak: Hands-on Interpretive Video

Miriam Lakes, Arts Innovation Project Assistant Evelyn Orantes, Cultural Arts Developer

ArtSpeak, the hands-on interpretive video, Initial evaluation offers visitors a chance to listen to commen- Visitors evaluated the first prototype of the tary by California artists represented in the piece in the small Art Lab space in the Gallery OMCA collection. Situated near the front of the of California Art before the Gallery closed. Gallery of California Art, the video animates The first prototype included a video of ­artist the surrounding artworks with artists’ voices Carmen Lomas Garza with footage from her and highlights the range of artists represented interview and images of her artwork that in the Gallery. The video footage was devel- played in a continuous loop. The video was oped from full-length interviews with California located near a print by Garza. Additionally, artists conducted by the Museum in 2003 with similar videos of three other artists played on funding from the National Endowment for the one monitor at the front of the Gallery, again Arts. With over eighty hours of interviews with near the display of artworks by those ­artists. forty California artists, our challenge was to We designed a survey for visitors to give take this mound of footage and use it to cre- feedback on what they would like to hear the ate an engaging experience for visitors that artists talk about, the length and quality of the ­welcomes them to the Gallery and showcases video, and whether or not the video changed the diversity of artists represented. the way they looked at artworks and thought about California artists as a whole.

Artist Carmen Lomas Garza Overall, visitors said they wanted to hear about why the artists make the work (their inspira­ tion), and how the artists make the work (their process). Visitors also reported that the length of the videos (three to five minutes) was just right, which indicated to us that the finalversions ­ should not exceed this length. This small amount of visitor feedback helped inform the remainder of our work in develop- ing this interpretive video, and it suggests that even a minimal amount of prototyping can be PROTOTYPE very helpful in designing for visitors.

66 artspeak 67 We learned that our testing was more Developing the interpretive video Re-evaluating for content Summative evaluation and where we go success­ful when we asked broader ­questions from here With information from visitors about what MILDRED HOWARD (mixed media At this point, we revisited the goals of the such as, “If you were to describe this activ- they most wanted to hear from the artists, artist): project with the entire interpretive team We have not formally evaluated ArtSpeak now ity to a friend, what would you tell him or educators and curators together reviewed and created a document to guide the that it is in the Gallery. However, we do have her?” These kinds of questions elicit visitors’ “You know I don’t feel particularly the written transcripts of the videos looking ­remaining development: the ability to look at how many visitors are experiences with the activity as well as their responsible for anything but for the following themes: inspiration, creative using the interactive daily as well as in what understanding of the broader concepts pre- making art. I make art and since The video experience at the entrance to the Gallery process, and interesting anecdotes in sup- should serve to welcome visitors with the immediate language they choose to watch the videos. sented in the material. Additionally, questions I am in the world and a part of port of the Gallery’s Big Ideas. We reviewed presence of diverse people, multiple languages, Future iterations of ArtSpeak that include new that target understanding of broader themes over 400 pages of typed transcripts, selecting the world then that is what I and evocative suggestions for possible ways to look Artist Hung Lui video clips will be tested with visitors to help us and concepts are best addressed with an at art. quotes that looked interesting on paper. We talk about. I think what I do as determine the effectiveness of the interface, interview rather than a written survey. We then watched the original interviews, spend- an artist is that I try to create We also came up with three questions that Our document helped to re-emphasize and the strength of the video footage, and whether found surveys more effective for targeting less ing most of our time looking at the portions models of the world, the way I see would encompass the twenty tag words remind us of the original interests of visitors. visitors leave with a sense of the diversity of conceptual, more specific pieces of informa- we had highlighted in the transcripts. We real- them.” ­developed from the visitor interests expressed We continued to tag the quotes as we went California artists in the OMCA collection. tion related to clarity of language or the design ized that a limiting factor was the way in which in the first evaluations: along, narrowing down our categories and of a specific element. What we have learned from visitors from the artists spoke—if the artist did not appear eliminating some in order to focus on the • How do I look at art? principal areas of visitor interest. In keep- the earlier evaluation is that they are most engaging, the subject matter, no matter how drawn to ­videos in the Gallery that accom- interesting, lost its ability to hold our attention. • Who is an artist? ing with our use of multiple languages in the JIM MELCHERT (ceramicist): • What is art? new Gallery, the attract screen has various pany ­collection objects. Thus, integrating the As we watched all the videos, we observed tag words that are displayed continuously in ­videos within different areas of the Gallery “I think a response that I would that questions and themes began to surface English, Spanish, and Chinese. This not only rather than in the large orientation area might really treasure . . . [and] value is from the artists’ comments: what they hope lead to more visitor use of the exhibit. We may I found it very rewarding to work on this helps to make the screen seem fuller and more visitors will see in their work, their first experi- for somebody to feel a little more feature the video on the Museum’s website to interpretive element. Reading and watch- visually appealing but also emphasizes that ences with art, and why they feel they need to alive after they saw the piece.” see if the piece is successful as a web element ing the interviews gave me new insight the activity is intended for a diverse audience. make art. The variety of artist themes com- rather than as a Gallery exhibit. into the artists. More importantly, while bined with the range of subjects identified by The final version of the interpretive video is it’s not a “must see” exhibit in the Gallery, visitors added up to a lot of different ideas, located in the orientation area at the front of it helps to make the Museum more of a and we wanted to include as many as pos- the Gallery. Created as a seated activity, visi- CATHERINE WAGNER home for our visitors. Audience members sible. Working with a media developer and a tors can choose from tag words or phrases (photographer): use ArtSpeak quite frequently as they sit designer, we created a touch screen format in such as “gut,” “beauty,” “voice,” and “what is back and relax in this area of the Gallery. which visitors could choose up to twenty com- “But something that has always art?” by touching the square with that text on ArtSpeak provides visitors with an inter- pelling words or phrases (“tags”) that would kind of rattled in the back of my it. The exhibit is designed in such a way that esting and informative teaching element. each lead to a sequence of three to five inter- head late at night is will they we can add new video content and switch out tag words over time. view clips of artists commenting on that topic. understand?” ­—Julie Muñiz, Associate Curator of Crafts and The challenge was to create a digital element Decorative Arts that was visually appealing but not so much so that it distracted from the content of the inter- views themselves. 68 ARTSPEAK 69 The Is it art? Lounge

Miriam Lakes, Arts Innovation Project Assistant Evelyn Orantes, Cultural Arts Developer

The Is it art? Lounge is one of two “loaded” Background lounges developed for the new Gallery of The Oakland Museum of California (OMCA) California Art. Loaded lounges are places that has a tradition of incorporating resource not only invite visitors to stop, sit down, and areas in temporary exhibitions. These spaces rest for a while but that are also “loaded” with provide visitors with opportunities to further surprising and provocative interpretive ele- explore the exhibition’s themes through a ments that encourage conversations among variety of materials and activities and are visitors. The Is it art? Lounge is an experi- often designed to look like living rooms, din- mental space designed to change over time. ing areas, and other social gathering places. Furniture is upholstered in raw linen and the The priority given to resource areas has a walls are clad in a recycled paper composite complex history at the Museum. Depending board, evoking an informal studio-like feeling. upon the allocation of space by specific exhibi- tion teams, resource areas have ranged from large comfortable environments with multiple seating areas and activities to small cramped spaces with a table and some chairs.

The transformation efforts offered the art and education staff a chance to do something new, rather than labeling spaces as either curato- rial or educational. We collaborated to create spaces that married art and education, with an emphasis on visitor experience at the fore- front of all of our designs. This collaboration, although challenging at times, has created valuable new connections and models within the Gallery and also within the Museum’s structure as a whole.

70 IS IT ART? LOUNGE 71 The concept The challenge Selecting the objects

OMCA art curators and members of the inter- Beyond the limits of the academic art world The interpretive team identified three basic We started by prototyping an object com- pretive team agreed that the Art of Our Time resides the majority of the greater San Fran­ criteria used to define an object as art. Fine- parison activity that asked visitors to look (contemporary art) section of the new Gallery cisco Bay Area communities and our main tuning these ideas led to the development of at three different collection objects and talk of California Art offered a good location for target audience: visitors who are new to look- the first prototypes for this lounge: with us about which ones they thought were one of the new loaded lounges. The Gallery ing at and thinking about art. We wanted to art. Because so many of the surrounding art- • Artist intention (if an artist makes label for Art of Our Time states: create a space in the contemporary art sec- works use ordinary objects in some way, we something to be art, then it is art) tion of the Gallery that addressed a recurring selected three cups, each representing one of What is California art? The definition has expanded with the growing complexity of our society. visitor question central to the artworks in this • Uniqueness (handmade and not mass our three definitions—intention, uniqueness, area: “What makes that art? My five-year-old produced) and beauty. The objects were similar in shape Art changes as artists explore new ideas, materials, could do that.” While some might disparage and size and they were all obviously cups. An and techniques. California is ever-changing and • Beauty (having aesthetic value) provides an especially rich climate for exploration. this familiar perspective, we took its origins to object as familiar as a cup provides a comfort

Some artists respond to social and political heart and recognized its underlying angst. We level and a feeling of confidence that allows upheavals around them. Still others look inward, set out to create a loaded lounge for visitors visitors to focus on the larger more abstract exploring dreams and disappointments. Artists that invited them to participate in an extended idea. Images of these three objects became today continually question how art is defined conversation about art and would allow them the first activity in the prototype lounge— and challenge how we define ourselves in the contemporary world. to leave with a sense that their opinions are the cup board. part of the greater conversation.

We aimed for a balance between present- ing information and leaving room for visitors to discover and explore art on their own. We wanted to reveal the curatorial process of selecting artworks for this section of the Gallery and convey the multiple ways of think- The process of selecting objects allowed for a new collaboration between ing about the definition of art, even within members of the interpretive team and the art registration staff. As part of the context of one small lounge space. We exploring new models in our Museum, members of the interpretive team envisioned the lounge as a dinner party where were the curators of the lounge, selecting objects for the space. Because multiple conversations are taking place about our registrars know collections in a very deep way, we approached them for art and where visitors are as much a part of object suggestions and found their recommendations invaluable. the conversation as the other guests.

72 IS IT ART? LOUNGE 73 PROTOTYPE Building prototypes—constructing From design to evaluation and After extensive evaluation with the cup board, Keeping It Simple from concepts back again we learned that what objects we selected was just as important as the use of language in Once we selected the cups, we designed The design of the Is it art? Lounge evolved In the evaluation effort to develop a lounge based creating a successful presentation of more a basic prototype exhibit that was rough, almost entirely from visitor feedback. If on the question “Is it art?” in the Contemporary abstract concepts. We experimented with unglamorous, and not something you would visitors did not understand something, we Art section of the Gallery, we spent over six using different cups at different points in the expect to find in an art gallery. Visitors sur- reworked the cup board and tested again. months testing for content and design. With testing. At one point, we had two ceramic cups prised us with their level of openness and Initially we asked visitors to think about the advice from Nina Hido, our evaluation coach that were identical except in color—we hoped expressions of enthusiasm for this rough- roles of beauty, intention, and uniqueness in from the Exploratorium, we articulated questions to use these as examples of a difference in and-ready style of experimentation. The first art, but after the first round of prototyping that communicated the points we wanted to opinion about one object (we labeled one version of the cup board consisted of images we realized this was a lot of information to make about the role of intention in art making. “This is art” and the other “This is not art”). of three cups: a melted teacup from the 1906 ask ­visitors to digest in just one element. We From our repeated observations of how visitors However, this confused visitors, which led us San Francisco Earthquake (History collec- decided the next iteration of the board should related to prompts about objects as well as from to select three different looking cups. This tion), a mass-produced Heath Ceramics cup isolate the role of intention in art. This became interviews, we recognized that it was critical allowed visitors to create parallel comparisons (History collection), and a ceramic and wood the guiding principle for the lounge itself—the to keep objects familiar and concrete when we among the three objects. Additionally, having cup by artist Kenneth Price (Art collection). role of intention—and it was at this point that invited people to consider new, abstract ideas Refining evaluation techniques three visually different cups lessened the need Above the cups were the words: “Is it art?” the final concept of the lounge was formalized: about these items. for text to explain that each cup represents a We initially evaluated prototypes for enjoy- We found that this kind of question led visi- A flap below each image contained object Q: IS IT ART? unique concept. For this reason, we decided to use something ment of the activity (rate level of fun on a tors to understand that we wanted them to information as well as a question to help visi- as simple as cups as a way to engage visitors to scale of 1–6), whether or not the activity be thinking about art in a new way. In most A: It is art if the artist intended it to be art. tors relate the object back to the question, respond to ideas as complex as the role of artist helped them to think about art in a new way cases, they were accommodating us, and “Is it art?” We started with simple text and intention in determining whether a given object (and if so, how?), whether or not visitors felt we needed to probe further for their own Although we removed text about the roles of edited it as we worked with our evaluation may be considered art. entitled to their own opinions about art (yes/ ­authentic responses. beauty and uniqueness in art, visitor com- coach to revise questions for the evaluation no), and visitor­ expectations about the activ- ments during prototyping reassured us that Using simple objects to involve visitors in instrument. This process significantly helped We changed the question to: ity. Responses led us to understand that we these two concepts fell under the broader complex ideas allowed them to notice the various us to simplify and refine the content and text. needed to refine the evaluation process itself “If you were to tell a friend about what this ­category of intention. elements of the overall installation (objects We learned that a prototype can never be too for this activity—yes/no questions were not activity was about, what might you tell and signage) rather than get caught up in the basic: if it’s too complex, it’s hard to figure out We learned through trial and error what providing substantial responses. Our chal- him or her? Anything else?” beauty or intrigue of the objects themselves. where the conceptual problems are. If you ­visitors needed to understand the concept lenge was to create an instrument that would They could then “get” the intended take-away start with something very simple, you can of intention. The prototyping and evaluation allow visitors to respond in a manner that This kind of question reaches people’s under- meanings of the exhibit—that there are multiple keep adding complexity until it loses coher- processes went hand in hand, and the abil- indicated whether or not they understood the standing of the content presented without perspectives about art objects, that curators ence, and then you know you’ve gone too far. ity to change our prototype as well as our concepts presented in the activity. For exam- cuing them to our goals. often consider artist intention as a defining ­instruments on a day-to-day basis allowed ple, we first asked: factor in determining the status of any object as What we learned: We need to pose questions us to experiment and become familiar with art, and that viewers are entitled to form their “How much would you say this activity helped in ways that support visitors to articulate what appropriate language for both the activity and own opinions. you think about art in a new way?” they understand about an activity without the evaluation. being directly asked to do so.

74 IS IT ART? LOUNGE 75 From the cup board to the lounge: Voting activity reiterating the message of intention in In the first iteration of the prototype lounge, The final version of the voting activity includes different ways we placed images of objects from the History, three objects, and visitors vote on whether or The development of the lounge was based Natural Sciences, and Art collections that not they think these are art. A dispenser with on our experiments with the cup board. Our were all similar in shape. We learned we yes and no tickets of different colors stands decision to focus on intention shaped all needed to make them as similar in size as next to three identical vitrines that contain the additional elements for the lounge—we possible so that they seemed comparable: objects similar in size and shape: an oat grass designed each activity to help visitors think Native American baskets, bird nests, and a specimen from the Natural Sciences collec- The cups about the role of intention in art. The entire fiber art piece by Gyongy Laky. The definition tion, a Native Pomo basket from the History lounge went through a process of prototyping The cups remained a key element within the of intention appeared next to them on the wall collection, and a Gyongy Laky fiber work from and evaluation with visitors over the course lounge because they provided the fundamen- with label information about each object. The the Art collection. As tickets of different colors of four months. Successful elements of the tal and basic information that was reiterated in words “Is it art?” were placed at the top. This build up in the clear containers in front of each lounge continued to evolve based on ­visitor the additional lounge elements. As the design installation served as a visual entry point for object, visitors begin to see there is no right or feedback, and less successful elements of the lounge evolved, we integrated the layers visitors. Their first interaction with the proto- wrong answer and that they are entitled to give were reworked or eliminated. Our aim was of information into a digital element installed type lounge often involved closer inspection of their opinions about art. to ­present one complex concept through beneath the three collection objects, encour- the images and conversations among visitor ­multiple activities. aging visitors to go back and forth between the groups about their impressions of the objects. objects and the ideas. Evaluation of the lounge needed to focus Although this installation did not involve on visitors’ understanding of the space as a a ­specific activity, the question “Is it art?” whole, as well as on the success of individual seemed to provoke a fair amount of conver­ activities. We were able to target understand- sation. In another area of the lounge, a ing of the broader concept of the lounge with separate voting activity evolved, and a high the same question we used for the cup board, level of visitor ­participation indicated that asking visitors to describe the overall lounge ­visitors enjoyed voting on whether or not they to a friend. A majority of visitors cited areas thought a collection­ item was art. We then of the lounge that were based around objects, integrated this voting activity into the wall emphasizing the need to include interesting installation so visitors could vote on whether collection objects and for the activities to be or not the Laky piece was art. This elicited focused on the objects themselves. even more conversation from visitors as they talked about what made the Laky piece art, referring to the ­surrounding nests and baskets that had similar shapes and materials.

76 IS IT ART? LOUNGE 77 Feather bowl and comment book Visitor voices audio

We originally chose Untitled by Debbie Mink Because we wanted the lounge to serve as a Excerpt from Visitor Voices Audio Script as a possible object for the lounge because place where visitors felt both comfortable and of its unusual use of materials and color inspired to engage in conversation with one Visitor 1: “Well, I remember visiting the Modern Art and its appeal to visitors as a fun and quirky another, we decided to incorporate an actual Museum in San Francisco 10 years ago. I remember seeing artwork. We tested it as an object of conver- conversation. We interviewed over 200 ­visitors a mop in a bucket. I was thinking, ‘That’s not art,’ but the sation, positioning an image of it on a small and collected enough visitor comments to person set it up like that. It made me question what is art table where visitors could leave comments illustrate both the evolution of the lounge and and remember it and talk about it 10 years after the fact.” in a response journal about whether or not the range of opinions held by our visitors about Visitor 2: “And what do you think now? Do you think it was they thought it was art. Visitor participa- what makes something art. These visitor tion was high, and younger children seemed responses spoke directly to the ideas shaping art? I’m an artist, and I think intention is everything. The fact especially interested. Because the pink bowl the lounge and demonstrated the diversity of that I’m making something that is supposed to be art, then it was so popular with visitors, we decided to opinions people have on the topic. Inspired by obviously is art.” keep it in the lounge as a conversation piece these comments, we created the first version Visitor 1: “So if you make something, and say it’s art, even with an accompanying response journal. We of a visitor voices audio experience by record- if I don’t like it, it’s art? I don’t know if that works for me. juxtaposed it with a pink troll doll to add an ing and piecing together different statements If it’s not in a museum or a gallery, it’s not really art.” element of humor and surprise. These are in a from both visitors and artists. We worked to low case with the phrase “Is it art?” printed in lengthen the script and create coherent con- three ­languages around the base. Visitor com- versations out of the quotes we had collected. ments in the first few months since opening What we learned: Visitor comments from have indicated what we previously thought— evaluation can have a life beyond being data— the piece appeals to visitors and inspires them they can be integrated into the final design to join in the conversation. of a space to give visitor voices a presence in the Museum.

The current audio script consists of three separate conversations about the role of inten- tion in art that we recorded in-house with four actors. Visitors can listen in on the conversa- tions through headphones hung above the couches. We are now reworking and re-record- ing the piece based on visitor comments from the summative evaluation of the Gallery.

78 IS IT ART? LOUNGE 79 Summative evaluation and where we go The interviews of visitors who used the space serve as examples that visitors are still helping from here show they understand the concept of the us to change the Museum. Our challenge will Living the Good Life Lounge lounge. The number of votes tallied during the be to maintain this level of visitor input in the Summative evaluation of the Is it art? Lounge Mary T. Faria, Arts Innovation Project Coordinator opening weekend alone demonstrates that development of future exhibits and also to see by Randi Korn & Associates ­indicates that visi- Karen G. Nelson, Interpretive Specialist/Art visitors are participating in the exhibit. The exit visitors as our allies throughout the process. tors are responding positively to the lounge. interviews show that around one-third of all The concept Visitors commented that they enjoyed the Gallery visitors participated in the interpretive The conversation continues interactive experiences, and it was observed Besides the Is it art? Lounge, another “loaded” focus on the current interest in creating hand- exhibits, and these visitors cited the voting that the lounge promoted conversations about “Is it art? My five-year-old could make that.” As lounge was created in the Gallery’s Turn of the made, do-it-yourself (DIY) objects in reaction activity in particular, using the words “fun” and the artworks among visiting groups. What long as visitors ask this and similar questions, “This is a nice 20th Century section that features artworks to the far-reaching virtual world of technology. “break[ing] down the wall” between people really emerges from the report is that the the conversation of what makes something art from the Craftsman era in California as well We explored contemporary parallels with the and art. relaxing place lounge is making visitors think and talk. remains a provocative topic for us to explore. as paintings and photographs from the era. search for spiritual well-being that existed The Is it art? Lounge was also successful at We will continue to look to visitors to inform We explored various concepts for the lounge, ­during the Craftsman era. [M]any interviewees said that the activities made to rest from the them evaluate their personal definition of what attracting a segment of the audience we were our future design and development efforts for including references to the philosophies of the Ultimately, we decided to create a lounge art is. Moreover, some interviewees said that the targeting—families. According to RK&A’s find- this space. The success of future iterations of busy museum Craftsman era and the related appreciation for where visitors could relax and experience the Lounge activities made them think about how much ings, the lounge was one of the components the lounge must be measured by the ultimate nature and the beauty of handmade objects they value other people’s opinions about what art is exhibit judges: the visitors themselves. walking day.” beauty and comfort of handmade furniture instead of their own.* in the Gallery that attracted the most visitors. as a response to industrialized urban life. We that represents the aesthetic and spiritual Visitors with children in particular were more also considered using the lounge to make con- values of the Craftsman era. Tedd Colt, a The report also mentions visitors’ thoughts likely to stop at the Is it art? Lounge. —visitor comment 2010 nections to the turn of the 21st century, with a about the amount of information provided in local master craftsman, collaborated with us the lounge. While some visitors appreciate that Because the lounge was created as an evolv- to conceptualize the space and identify the the lounge is a place for their opinions about ing space, designed so that we easily can range of furniture to include. He then created art, a few visitors (around 10%) state that switch content in-house, a final measure all of the furniture that has the look and feel of they would like to hear the Museum curators of its success will be in its ability to change a domestic living room comfortable for read- debate the topic rather than their fellow over time. We know that the development of ing, including a reproduction of a mahogany visitors. This contrast in visitors’ opinions is future iterations for the lounge will not happen table and chairs from the Gamble House interesting to note—does it indicate that we overnight—it’s an intense process involving in Pasadena and reproductions of a child’s are not successfully fulfilling the purpose of planning, research, evaluation, and design. table and chairs, based on designs from the the lounge because visitors are still looking for We also know that to create these kinds of Swedenborgian Church in San Francisco. the right and wrong answer from the curators? experiences for visitors, we must include them throughout the development and design process. The first few changes to the lounge— reworking the visitor voices audio piece and making the collection labels more prominent—

* RK&A, “Exhibition Evaluation: Remedial Evaluation, 2010.” are one step in the right direction. They also

80 IS IT ART? LOUNGE 81 The design Settle arm engraved text Adult furniture engraved text Rather than use wall labels or other didactic­

materials in this space, we wanted the fur­ni­ Arts and Crafts furniture makers ture itself to present the messages about the Chair darkened oak by ammonia fuming. use and appreciation of handmade materials,­ Legend says this process was • chair design from Bolton house in playing with the idea of “if the furniture discovered by noticing oak beams Pasadena, 1906 could talk.” Anecdotes about the furniture in stables darkened from animal and explanatory comments about specific Diseño de silla de la casa Bolton en urine fumes. construction features are engraved into the Pasadena, 1906 furniture in English, Spanish, and Chinese. 椅 子 設 計，來 自 帕 薩 迪 那 Bolton Text includes materials descriptions, dates 家，1906年。 and locations, and even a legend. Children’s table engraved text • ebony spline strengthens the Other materials for visitors to explore include (objects embedded into the table) end joint wooden joinery puzzles, oversized scrap- • hammered copper books, and reading materials for children • cloud lift on bottom edge—Japanese- and adults about the art and architecture of influenced motif cobre amartillado the time. 用錘子敲出的銅器 • square ebony peg locks joint in place • stained glass

Table • mica mineral flakes “I like the smell of the wood and (objects embedded into the table) • fired clay tile the colors and the comfortable • African ebony hardwood reinforces couch has a very homey feeling.” softer mahogany, creates a design —Visitor comment 2010 element “I want one! I love the stained glass that was put in the table. Thanks for • stained-glass design from front door this Relaxing space!” of Gamble house, Pasadena, 1908 Hands-on wood joinery puzzle engraved text —Visitor comment 2010 • Greene and Greene used Japanese- (by an 11-yr-old) inspired designs for pewter and • dovetail joint mother-of-pearl inlay “I think people had a good • mortise and tenon joint life here.” • through tenon joint —visitor comment 2010 All text was translated into Spanish and • double mortise and tenon joint Traditional Chinese.

82 LIVING THE GOOD LIFE LOUNGE 83 The experience

Visitors of all ages marvel at the beauty of the furniture while enjoying the comfort and serenity of the space as they read, chat, or SCRAPBOOK PAGE look out at the artworks in the Gallery around them. This Living the Good Life Lounge has become a favorite for visitors, as is evident in the journal entries.

The intent of this space was one of the most debated topics in the Gallery reinstallation process. Plans alternated radically between a loaded lounge and a reading room at least nine times over two years. In the end, we have a space that combines the two approaches. This is a reading room with elements of a loaded lounge, such as the unexpected “talking” furniture. Also, the very comfortable seating invites visitors to spend considerable time Visitor: “We actually spent most of our time in one of the here while having an opportunity to try out the lounge areas. I really like how it’s like a hanging-out kind of Craftsman era seating. Our goal was to create museum as opposed to a more formal looking-at-stuff.” a space that was more domestic than insti- tutional and that would encourage visitors to data collector: “Which of the lounge areas?” relax, reflect, and explore at their own pace. Visitor: ”The arts and crafts one. Yeah I very much liked the We have seen families as well as separate feel of the place and we live nearby and are members and groups of visitors readily make themselves at we’re starting in the habit of just coming to hang out here.” home in this lounge. Visitors are using all of the

books, scrapbooks, wood joinery puzzles, and —visitor comment 2010 alphabet cards. Thoughts for changes in the space include providing more hands-on mate- The chairs are cheerful and it feels rials for children and adding ambient music or like they can almost tell a story and nature sounds. The final changes to make will I love the tables. be determined as we continue to see how visi- tors use this space. —visitor comment 2010

84 LIVING THE GOOD LIFE LOUNGE 85 I haven’t written for three years, and I’m a writer . This new museum has changed my life. The first new REFLECTIONS thing I will write about will be you. Thank you.

visitor comment

86 THE ART 360 GALLERY 87 Getting Over It

René de Guzman, Senior Curator of Art

As the project manager for the Art Gallery This whole process provided me with an the best visitor experience possible. One reinstallation since 2008, I had a particular incredible learning opportunity. As a curator example is the furniture. We designed and view about what went into making the new used to working with people (as a contempo- built a system of seating that provided rest but Gallery happen. With a great deal of assis- rary art curator, at the very least, artworks also the opportunity to experience artwork tance, I managed and coordinated the various were attached to the maker if not the maker’s and deliver interpretation. The use of color in elements that were required to assure that we community), I found it surprising that the Gallery also grew out of visitor research not only stayed within budget and deadline so much drama surrounded inanimate that told us color acts as a marker for famil- but also fulfilled the promise of a progressive objects. The curators defended the iarity and comfort. Of course, we needed to and welcoming gallery. I had the pleasure and integrity of pure experience of the place colored walls in relation to the artworks responsibility of needing to know practically object, the educators fought for the displayed on them; this also impacted the everything, from technology infrastruc- object’s ability to communicate to a design and weight of our labels and exhibition ture to furniture to interpretive strategies general public, and the conservators and text. Additionally, the order and placement to ­conservation requirements to curatorial registrars wanted to protect the object of artworks and style of presentation were content to, not least of all, the Irvine Arts from physical dangers and harm. cross-referenced to the messages we hoped Innovation grant’s goals. At times, the various to convey. These are just three examples, but I Ultimately, these tensions diminished as elements were in tension with one another. can’t think of any part of the reinstallation that each party grew to appreciate and respect For example, one pervasive tension common did not have multiple co-dependent parts. Along the way, someone each other’s roles. More importantly, once it to many museums reared its head on numer- became tangibly clear that the visitor’s experi- I believe our greatest accomplishment had coined the phrase ous occasions and in different guises, namely ence was above all else the priority concern, less to do with what is visible in the Gallery. the conflict between education interests and “exhibit is design is each party benefited from a shared set of Throughout the process, we succeeded in those of curators. Early on, there was tremen- criteria with which to direct our thinking and acknowledging and addressing competing interpretation is exhibit is dous concern when it came to giving up space work. The visitor as a focal point galvanized interests so that the public could experience design is interpretation, for interpretive elements that presumably our efforts. our Gallery unencumbered by the internal could be occupied by artwork. In addition, etc.” I believe this saying conflicts that have constricted the potential of these conflicts became embodied in the need Along the way, someone coined the phrase museums in the past. became the unspoken to have practically every player included and “exhibit is design is interpretation is exhibit mode of operation for informed in every decision, big and at times is design is interpretation, etc.” I believe this exceedingly small. This basic curator/educator the reinstallation of the saying became the unspoken motto for the schism played itself out not only in what came reinstallation of the Art Gallery. It meant that Art Gallery. up as an object for consideration but also in every facet depended on the others to provide­ how we went about our business. —René de Guzman 88 GETTING OVER IT 89 Seeing Yourself

Drew Johnson, Associate Curator of Photography

Early in the concept phase of the reinstallation natural desire to show more art, we decided Art Lab space. Returning to the fundamental project, we decided to divide the Art Gallery to hang the wall “salon-style,” as a dense grid question of how to make visitors feel they are into three thematic areas: Land, People, and with little or no space between works. Each a part of the Museum, we asked ourselves, Creativity. Immediate, clear, and visual com- piece would portray the human face, but oth- “What if the wall could actually contain the munication of each theme was an obvious erwise we devised the checklist to highlight faces of visitors, drawn by themselves?” priority, and curators held many discussions diversity: of ethnicity but also of age, gender, From these conversations grew the idea for about the best ways to achieve this. Exhibit sexuality, time period, and media. Nineteenth- the You Are Here activity. As implemented, designers in an earlier phase of the project had century photographs would rub shoulders with ­visitors approaching the California Portrait suggested a theme-specific color scheme that contemporary painting, traditional “fine art” Wall notice two frames that look slightly we adopted, but we knew we needed some- would appear juxtaposed with craft objects, ­different from the others. Flat-screen video thing more. commercial images, and folk art. monitors are framed to look like hanging Over the course of many meetings, curators Curators each contributed a list of works ­artworks, and their images change con- talked about the best way to approach the from their collecting areas, which we all then stantly. When they look at an adjacent wall, theme of California People. Surveys and discussed and winnowed down to a number visitors quickly discover the images on the other audience research showed that appropriate for the allotted space. The exhibit video monitors are self-portraits, drawn at a visitors had a deep desire to “see them- designer presented a helpful elevation of how special station. The station contains a mirror selves” in the Gallery. Comments such the wall would look when finished. Planning and electronic­ sketch pad on which visitors as “there’s nothing for me here,” “my ahead, we selected a second set of similar can easily create a self-portrait, which is then story isn’t being told,” or “my culture is works to allow for future gallery rotation and “posted” into the wall frames. not represented” were common. We knew a second iteration of the wall. When installed, Since opening, this activity has consistently we wanted to represent the great diversity of the wall gave a strong sense of kaleidoscopic been one of the most popular and con- California’s people (a parallel to the diversity variety, of both people and artistic styles. tinuously used activities in the Gallery. It has of the state’s natural environment) and to help While we felt the concept and design were increased the level of social interaction in the create parallels between visitors’ personal sto- successful, we still needed to address other Gallery and, judging from the sounds of laugh- ries and the California stories they would see visitor concerns. We frequently heard a desire ter, encouraged visitors to feel more at ease in in the History Gallery as well as elsewhere in for more activities, for “something to do” in the the Museum. The juxtaposition of a range of the Art Gallery. Gallery, and particularly for multigenerational art with visitor drawings has encouraged iden- From these discussions came the concept of activities. Drawing activities in temporary tification with the creative process and helped the California Portrait Wall. Dovetailing nicely exhibitions had proven successful in the past demystify art and artists. with the depth of our collections and our and were being prototyped successfully in the 90 SEEING YOURSELF 91 Breaking Down the Divide: Multiple Voices

Karen Tsujimoto, Senior Curator of Art

On the facing page are just a few of the a bear hunt. These labels are literally thought In June 2010, Randi Korn & Associates con- ­comments culled from nearly a decade of bubbles that present information or a per- ducted exit interviews in the new Gallery of visitor research conducted by OMCA staff. spective from one person and are intended California Art. Their report indicated that the As the Museum anticipated the reopening to stand apart from the traditional object introductory text panels and labels had the of its Gallery of California Art in April 2010, label. This particular installation is part of our highest rate of use by visitors compared to “I like to read personal stories and the education and curatorial staff took such initiative to selectively juxtapose history and other interpretive tools (for example, media ­comments to heart as we collectively recon- natural sciences artifacts next to artworks in components). According to the report: make human connections when sidered our interpretive labels and signage. order to tell a richer story about California art. Nearly all interviewees used and appreciated the range of information provided—from basic facts Our initiatives included: discarding academic In an effort to break down the divide I look at art.” about the artwork’s title and artist’s name to inter­ jargon, providing transparency moments, lim- between public visitors and profes- pretation and quotations that provided insights iting the amount of label text, inviting different sional staff, art curators also wrote about the art . . . In particular, the quotations voices into the Gallery, and adding images of labels from the first person point of presenting multiple voices of Museum workers and “Where are the different voices of artists received overwhelmingly positive responses artists to “humanize” the art viewing experi- view. In our special daguerreotype installa- from interviewees. . . . As one interviewee said, Californians?” ence. This posed a creative and administrative tion, for example, our curator of photography reading excerpts in the quotation bubbles felt like challenge because any one label could go recounted his teenage fascination with these “you’re talking to someone about the art.”* through several vettings that involved the early photographic images made on metal. Our visitor comment books also provide author’s point of view, curatorial review by Art and education staff also felt it critical us with important anecdotal feedback. “Labels help me to understand an the content specialist, interpretive review by to include different voices from our com- “Wonderful—extremely user-friendly,” education staff, review by the managing art artwork better and stimulate my munity. We invited (and hired on contract) one guest wrote. Another observed: renovation team, content and “voice” edit- Jaime Cortez, a local artist and writer, to “Text on exhibits is incredibly acces- thoughts.” ing by an outside consultant, review by the create labels responding to a wide variety of sible. Lets visitors engage on many art label coordinator, and copyediting by in- works of his choice: from an 1849 lithograph levels. Wonderful mix of art, history, house and contract staff (for example, do we —visitor comments 2010 by Nathaniel Currier to a 1969 hard-edged ­science. Amazing museum experience.” spell out “19th century” or use numerals?). abstract painting by Lorser Feitelson to rock Whew. We could have had a more stream- posters from the 1960s. Jennifer Bates from lined process,­ but I think the end results are our Native American advisory council, our ­generally positive. Museum conservator, and the art registrar In one instance, our natural sciences curator were among many others who contributed

wrote a Bubble Label about a bear skull that labels that reflected their points of view. *RK&A, “Summative Evaluation: Art Gallery, 2010.” is installed next to a 19th-century painting of 93 Reflections on Writing

Jaime Cortez, artist and writer

During the transformation of the Oakland of the reinstallation—Art Department labels. make both me and OMCA look unprofessional, Museum of California, I was hired to write On the one hand, OMCA wanted innovation, unconsidered, gimmicky, undisciplined—not labels for the Art Gallery. I created labels for surprise, and even disruption in the labels. On museum material at all. individual art pieces and for groupings of art- the other hand, the innovation and surprise What helped most to break away from ­inertia works. Here I will reflect on two key learnings had to fit within consistent, firm restrictions on was how the Museum staff often used the gained during the process. each label’s word count, language level, goals, words “we don’t know.” Time and again, and content. they let me know that they didn’t have all the I was told from the beginning that I should answers yet, that they had more of a com- Learning 1: Inertia impacts the rate and feel free to use experimental, personal, and pass than a roadmap to our destination, that nature of change non-traditional approaches for some of the they were figuring out some of it as they went The impetus to change the way the OMCA labels. I wrote many traditional labels before along, and that we had to live with ambigu- relates to its constituencies and organizes its I ventured forth and created more poetic, ity, contradiction, and not knowing until each exhibitions, programs, and communications subjective ones. I am an artist, and like many issue could be resolved somewhere down was both internally and externally driven. The artists, I profess a great love for open-ended, the line. Museum planned how it wanted to change, but subjective expression, and yet I held back on I found this candid admission of not knowing the plan had to fall within the parameters pre- writing imaginative labels. I was upholding the helpful because I eventually saw that we were scribed by major funders. This simultaneous way of writing labels that most resembled the all together in this process of researching and sense of self-determined agency and defer- status quo. But I had no stake in upholding the finding and being a bit lost. All of us were out ence to funder priorities creates an intrinsic status quo, and if you asked me, I would have of our comfort zone, all of us were juggling tension as staff members try to ­determine told you I was enthusiastic about innovation in multiple objectives, and all of us were trying to the limits of self-determination within art labels. make our work dovetail with the larger goals planned parameters. So what was happening? and strategies of the Museum reinstallation. Tension is not necessarily a negative thing. In retrospect, I think I experienced the subtle, It can be quite productive because ­resolving relentless gravitational pull of inertia. The the tensions required that we define our status quo did not align with my greatest inter- assumptions, philosophy, and goals as ests and enthusiasm for change, yet there I cultural purveyors. Knowing that we were was, upholding what felt traditional. Writing This tension manifested even for me, an out- the more poetic, subjective labels felt much all fumbling for answers side consultant working only on one small part riskier. Experimenting and stumbling could created a safe environment for experimentation, THE ART 360 GALLERY 95 94 innovation, and risk taking. Many museum professionals recognize that we must Learning 2: Language trade-offs Despite my desire for specificity, I still had to however. I discussed the choice to avoid spe- Walking the Talk speak in broad terms for that label. I was much cialized language with an OMCA staff member change some of our I was asked to avoid using art historical jargon more satisfied with the label I wrote for Bruce from the natural sciences department. He Kathleen McLean, Arts Innovation Principal Consultant in my art labels. This proved to be quite chal- fundamental practices Connor’s 1957 mixed media assemblage offered a useful counterpoint when he said, lenging in some cases. For example, I was ­entitled Spider Lady House. “Yes, it’s great to have accessible language, if museums are asked to write a label about modernism in but there is also a benefit to using specialized When I was asked to join the Oakland Museum the home without using the word “modern- Bruce Connor’s piece evokes an eccentric hermit’s to remain relevant to language. Sometimes a new technical or con- of California (OMCA) team in their transfor­ ism.” As I tried to write concise, clear text, home. The layering of buttons, baubles, and nylon webbing suggest a sensual eroticism. But that ceptual word is a gift, because it can give you a mation project in 2006, it was a dream come 21st-century people. I understood my own generalized thinking eroticism is overripe and mismatched, gathering new way of understanding what you are seeing true. OMCA is in my museum DNA—my about modernism. As I did research on the dust with no hope of igniting attraction. In the and connecting it with related concepts.” museum career was born here—and the concept, I realized why this was so. The con- late fifties and early sixties, San Francisco artists were experimenting with unorthodox materials Museum’s early days shaped my passion for cept was wide ranging and full of contradictory He was right. Specialized language provides including junk, scraps, and thrift store finds. ­inclusiveness, dialogue and conversation, and Visitors today expect to customize their own ­trajectories. Modernism covers over a ­century Through juxtaposition, they infused objects with its own benefits. I believe that within the tight the notion of museums as agents of social experiences and expect the information they of innovation in the visual, performing, and newfound meanings. word limits of art labels, there may be no way change. So it was an interesting homecoming access to be hyper-current. For museums literary arts, and in design, architecture, to reconcile the desire for transparency and What feels satisfying about this label text for me personally. that spend years designing permanent exhi- and philosophy. accessibility with the desire to share special- is that it really focuses on the object, using bitions and writing gallery labels that will ized knowledge and terminology. This is one It also seemed to me that all the essential I realized that many of us who tried to stay the object to illustrate some key ideas of remain unchanged for years to come, this is of the many tensions OMCA has experienced elements were in alignment—a harmonic con- informed about the arts walk around with mid-century modernism, including the use a serious problem. And whether or not they in this reinstallation process. Although the vergence of sorts—to really make a difference: idiosyncratic definitions for modernism. If I of mixed media, the re-purposing of objects, want to, museums are being forced to con- OMCA staff has been very thoughtful and con- couldn’t find a clear definition of the term, and the use of surprising juxtapositions. As front ­evolving public reactions to the value scious about the tradeoffs inherent in every • A remarkable building and gardens, I certainly didn’t want to bandy it about on I wrote labels in this vein, I saw that I could of “authority” and expanding definitions of choice about labels and language, there will designed as a convivial public place my art labels. It was clear that the only solu- illustrate broad historical and philosophical “expert” and “expertise.” no doubt be misgivings and concerns about tion was to be as specific as possible. This is ideas by describing objects rather than using • Its location in the center of Oakland, a the new approach. If so, OMCA can take com- Having worked with museums all over the what I tried to do in the label text below that modernist concepts to explain the object. At quintessential 21st-century American city of fort in knowing that they took this path after country whose staff and Boards say they want introduces a group of objects that exemplify times, the two options may resemble each social and cultural diversity, sophisticated ­serious, thoughtful consideration, and that to be “innovative,” to try something different modernism in the home. other, but I came to believe that centering on and down-to-earth sensibilities, dynamically the process has been informed with the desire an object creates a stronger, more ­accessible, engaged in the major issues of our times and new, or to be a “new model” for museums, A chair, a screen, a table, and a plate can all express to serve multiple constituencies, goals, and and immediate way to share ideas with I have often felt disappointed and frustrated. an era’s design philosophy. After World War II, • Its roots as a “museum of the people” mandates and create a museum experience This is because when all is said and done, the wartime economy increasingly became a ­audience members. and its longstanding partnership with that pulls in and engages ever-larger and more most museums are conservative organiza- consumer economy. Designers created affordable, community advisory councils mass-produced household products for the Writing labels and statements without art his- diverse audiences. tions, unwilling to upset the status quo for fear growing suburban middle class. They stripped out torical jargon makes the Museum seem more • Its interdisciplinary mission to explore the of the disapproval of their Boards, colleagues, ornamentation, bent plywood into curved surfaces, approachable and less mysterious. It provides cultural, environmental, and artistic heritage funders, or visitors. And most museums, with and evoked living organisms through biomorphic shapes. This was both an expression of new design children and people less familiar with the art of California their refined sensibilities, just can’t toler- concepts and a tribute to sophisticated factory world more accessible ways of understand- ate the messiness required for a process of • Visionary museum leaders who embraced production machinery and fabricating techniques ing the significance of the art. Tradeoffs exist, change and innovation. pioneered at the time. the necessary experimentation and risk-taking 96 Reflections on writing 97 OMCA leadership has embraced enthusias­ And we have made a commitment to being tically the experiments I’ve been eager to transparent—that is, we are letting visitors try out as the Art Gallery’s lead consultant know about the Museum’s goals, research, for the Irvine Arts Innovation Project and practices, and methods of design and instal- creative director of the History Gallery and lation. This is not only because we are taking Natural Sciences Gallery ­transformations. a more open approach to what we do and how We are testing new processes for idea we do it, but because—in the true California development, exhibition design, fabrication, spirit—we are considering our many diverse installation, and even project management. visitors to be players and partners in the We are incorpo­rating rigorous prototyp- ­ongoing life and soul of this Oakland Museum ing and experimentation into all aspects of of California. the transformation. And in the spirit of the While most museums still just continue to talk creative commons, we are exploring every about these ideas, OMCA is walking the talk. imaginable way to ­incorporate visitors and It’s not always a stroll in the park—we navigate ­community voices into the installa­tions, among the potholes and ruts of “best prac- ­programs, and even the ­curatorial processes. tices” and we trip over roots and traditions Most importantly, we have the freedom to of expert authority. Like all experimental ­challenge long-held assumptions about what creative projects, the resulting installations is ­“appropriate” in a museum, from the behav- and programs­ don’t always measure up to ior of visitors to ­constraints on design. our visions and aspirations. But OMCA’s We have designed the galleries to be flexible, ­commitment to ongoing change, its rejection more akin to stages in a theater that continu- of the notion of permanent galleries, its experi- ally provide fresh offerings and perspectives. mentation with new processes and ideas, its We have designed all of the displays so that convivial attitude toward its many communi- objects, labels, and signs can be moved or ties, and its willingness to take risks and invite taken down and changed quickly to accom- some messiness into the perfection, makes modate new information, or in response to the this an exciting place to be. ongoing prototyping and visitor research that will be taking place at the Museum. If we find out that an exhibit element is confusing, or if new information surfaces, the Museum will easily update the display.

98 walking the talk 99 Acknowledgments Museum Executive Director Arts Innovation Data Collectors We thank the following OMCA volunteer groups: Futurefarmers Conversations About Language 2007 Lori Fogarty Kim Anderson Janet Hatano Anthony Brown, composer and musician Docent Council Anyka Barber Robert Hudson Juanita Dimas, psychologist We thank the more than 3,300 visitors who Arts Innovation Project Director Cesar Barragan African American Advisory Council Jane Hyun Dave Eggers, author, Founder of McSweeney’s contributed to the transformation of the Barbara Henry, Chief Curator of Education Rachel Egenhoefer Ideum and 826 Valencia Gallery of California Art by participating in Asian Pacific Advisory Council Arts Innovation Interpretive Team Deena Howard Harvey Jones Guillermo Galindo, ethnomusicologist testing and evaluating new ideas. Mary T. Faria, Arts Innovation Project Christina Lim Latino Advisory Council Amy Jukes-Hudson James Kass, Executive Director, Youth Speaks Coordinator Gina Linton Kaiping Liu Joe Lambert, Executive Director, Center for We extend our heartfelt appreciation to the Native American Advisory Council Miriam Lakes, Arts Innovation Project Assistant Brooke McClelland Aimee Klask Digital Storytelling incredible staff at the following museums Karen G. Nelson, Interpretive Specialist/Art Claire Meyler Teacher Advisory Council Catherine McEver Hung Liu, artist and Professor of Art, Mills Art for sharing their innovative practices and Evelyn Orantes, Cultural Arts Developer Marisol Pinto Martin Meunier College expertise in advancing the visitor experience: Lisa Silberstein, Exhibition Coordinator Lisa Sindorf Nancy Mintz Carmen Lomas Garza, artist Dallas Museum of Art, Denver Art Museum, The Oakland Museum of California acknowledges Reinstallation Project Anna Stock-Mathews Dana Neitzel Robert Mac, comedian and the Detroit Institute of Arts. the following people and organizations for their John Tuttle Jane Reed Karen Ransom, dancer and Director of Museum Arts Innovation Principal Consultant contributions to this project: Andrea Vargas Jason Reinier of Children’s Art We thank the James Irvine Foundation for Kathleen McLean, Independent Exhibitions Sarah Wininger Label and Writing Consultant Marjorie Schwarzer Chiori Santiago, writer its generous support and its foresight in Participating Art Department Staff Beverly Serrell, Serrell & Associates Susan Spero encouraging cultural arts organizations to Participating Education Staff Bridget Barnhart, Media Technician Stamen Design pursue innovations for the 21st century. We Rebekah Berkov, Natural Sciences School Label Guest Writer Co-Creation creative Convening 2008 Kathy Borgogno, Curatorial Specialist TransPerfect Translations also thank the Institute of Museum and Library Program Coordinator Jaime Cortez Mohammed Bilal, Managing Editor, 24/7 Torreya Cummings, Technical Specialist Katie Williams Services for its additional support. Joan Collignon, Docent Coordinator Townhall René de Guzman, Senior Curator of Art Gallery Designers Zak Zide Cedith Copenhaver, Special Projects Associate Michael Brown, artist Drew Johnson, Associate Curator of Gordon Chun Marcus Cordero, Office Assistant Emory Douglas, artist, former Minister of Photography Ted Cohen Christine Lashaw, Preparator Arts Innovation Creative Convening Culture, Black Panther Party Philip Linhares, Chief Curator of Art Dirk Dieter Indra Mungal, Community Programs Manager Amy Franceschini, Founder of Futurefarmers Julie Muñiz, Imogene Gieling Associate Curator Participants Cynthia Taylor, Adult Programs Manager Other Contributors Hou Hanru, Director of Exhibitions and Public of Crafts and Decorative Arts Creative Technology Convening 2006 Snowy Tung, Family Programs Coordinator Lisa Anderson Programs, Chair and Visiting Faculty Lecturer, Debra Peterson, Assistant Registrar Sonja Hyde-Moyer, Online Strategy and Project Suzanne Baizerman Department of Exhibition and Museum David Ruddell, Head Preparator Other Museum Staff Manager, Digital Experiences Consultant Jennifer Bates Studies, San Francisco Art Institute Stijn Schiffeleers, Digital Media Assistant Carson Bell, Curatorial Specialist Brad Johnson, Co-Founder and Creative BBI Engineering, Inc. Helena Keeffe, artist Joy Tahan, Registrar Inez Brooks-Myers, Curator of Costume and Director, Second Story Interactive Studios Bruckner Consultants LLC Favianna Rodriguez, artist, community organizer, Steven Thornburgh, Assistant Preparator Textiles John Jota Leaños, Director, Producer, Writer, Carl Chan and core member of EastSide Arts Alliance Karen Tsujimoto, Senior Curator of Art John Burke, Chief Conservator Burning Wagon Productions Tedd Colt Amanda Williams, artist and architect Dorothy Hood, Executive Assistant Sonny Le, Strategic Communications Specialist, Arts Innovation Project Assistants Jerry Daviee Douglas Worts, Partner, Worldviews Consulting Douglas Long, Chief Curator of Natural Sciences Strategic Communications Ling Chen Kelley Rachel Davidman Susana Macarron, Registrar Craig Rosa, Interactive Producer, Quest, KQED Emily Pinkowitz Ascha Kells Drake Bill McMorris, Museum Project Coordinator Peter Samis, Associate Curator, Interpretation, EMAX, LLC Arts Innovation Evaluators Louise Pubols, Chief Curator of History San Francisco Museum of Modern Art EmcArts, Inc. Jessica Brainard Emily Quist, Visitor Experience Manager Kathryn Seabrook, Director, KMS Consultants Erick Dunn Veronica Garcia-Luis Christopher Richard, Associate Curator of Jennifer Sparrow, Exhibit Designer, Gallagher & Alyssa Freedman Nina Hido Aquatic Biology Associates Carey Fruzza Joyce Ma Ariel Weintraub, Grants Manager Susie Wise, Doctoral Student, Learning Sciences Leslie Meoy Gee The Morey Group, Inc. and Technology Design, Stanford University Catherine Girardeau Randi Korn & Associates, Inc.

100 acknowledgments 101 Adult Program creative Convening 2010 Melissa Alexander, Director of Public Programs, Exploratorium Mark Allen, artist and Founder of Machine Project Calgary Brown, Community Attractor and Events Manager, The Hub Ken Eklund, Director of Games, Green 21, Game Designer, Writerguy Felicia Guston, Executive Director, Speak Out Radiah Harper, Vice-Director for Education and Program Development, Brooklyn Museum Adam Lerner, Director and Chief Animator, Museum of Contemporary Art, Denver Stacey Lizotte, Head of Adult Programming and Multimedia Services, Dallas Museum of Art Eric Nakamura, Artist and Founder, Giant Robot Magazine Marina McDougall, Founder, Studio for Urban Projects Ebony McKinney, Director, the Emerging Arts Professionals/SFBA Annette Mees, Resident Director, The Performance Lab Rebeka Rodriguez, Director of Education and Community Engagement, Intersection for the Arts ES DIC PPEN A

102 acknowledgments