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The Digital Strategy Ecosystem

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Slide deck from annual conference, November 2, 2016. Panelists: Douglas Hegley, Carolyn Royston, Jeff Steward, Janet Strohl-Morgan and William Weinstein. Session Description: Going digital - such as providing global access to a museum’s collection - has not only had a profound impact on visitors, but has also affected museum staff and how museums as a whole are grappling with the normalization of digital thinking. In other words, the manifestation of digital actually starts and ends with people - who they are, what they seek, and how they find it. In this session we will check in with several museums – diverse in size, type, and at various stages of going digital – to hear how they are achieving success through implementing effective digital strategies and improving digital literacy. Those strategies are always driven by people (staff) and must be measured by impact on people (audiences). Internally, organizations have been radically changing methods and tools, from staffing models to creating cross-functional teams and in-house capacity to the adoption of Agile practices. Externally, organizations are developing better and more-relevant metrics that demonstrate audience participation and engagement. We’ll hear from: Harvard Art Museums on how digital thinking is starting to take hold two years into the operation of their new facility Isabella Stewart Gardner Museum on how digital is driving new ways of working in a Museum new to digital and the wider impact this is having for visitors and staff beyond digital projects. Minneapolis Institute of Art on strategy alignment, staffing/hiring, workplace culture, technology “ecosystems”, and impact Philadelphia Museum of Art on how they are normalizing digital thinking and their road-map to digital excellence Princeton University Art Museum on accessibility, collaboration, funding, and strategic digital planning. Session attendees will have ample opportunity to participate in the discussion, ask specific questions, and tell us how they’ve been tackling the integration and adoption of new technology at their institutions. This session is all about people. Let’s learn together.

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The Digital Strategy Ecosystem

  1. 1. The Digital Strategy Ecosystem Douglas Hegley, Carolyn Royston, Jeff Steward, Janet Strohl-Morgan, William Weinstein Wednesday, November 2, 2016 1
  2. 2. MCN 201602 Setting the Stage Douglas Hegley @dhegley Image Source:
  3. 3. What is Strategy? MCN 201603 Image Source: Image Source:
  4. 4. Digital Strategy MCN 201604 Cleveland Museum of Art collection wall. Image Source: 9Mb2NhbFBvcmplY3RzMDEuanBnIl0sWyJwIiwidGh1bWIiLCJ4NjAwIl1d/files_01_LocalPorjects01.jpg
  5. 5. Digital Strategy MCN 201605 Image Source:
  6. 6. Pros Advantages and Opportunities of Digital Strategy ● Emphasizes the transformative power of digital ● Aligns digital efforts - frames decisions ● Helps manage expectations ● Provides clarity & transparency ● Enables long-term success of digital efforts ● Recognizes digital as a speciality area ○ Dynamic, still relatively “young” ● Teaching tool across the org MCN 201606 Image Source:
  7. 7. Cons? MCN 201607 Image Source:
  8. 8. Cons Potential Pitfalls of Digital Strategy ● Adds unnecessary complexity ● Confirms that digital is separate, in a silo - someone else’s job ● Confirms digital as “extra” or “not core to mission” ● Focuses too much on tech, leaving the people and purpose out ● Sounds really, really expensive ● Implies that digital is only a series of projects - a checklist ● Reads as self-justifying (or even defensive) MCN 201608 Image Source:
  9. 9. Today’s Session MCN 201609 Image Source: Listen for: ● Essential “hot topics” ● Importance of technology to organization-level success ● People-centric perspective ● Innovation & embracing change ● Evolving leadership models ● Practical knowledge
  10. 10. Here we go! MCN 2016010 Image Source:
  11. 11. The Start of a Journey Carolyn Royston Director of Digital Isabella Stewart Gardner Museum @caro_ft MCN 2016011
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  13. 13. Isabella Stewart Gardner (1840-1924) Anders Zorn (1860-1920) Isabella Stewart Gardner in Venice, 1894 Oil on canvas, 91 x 66 cm Isabella Stewart Gardner Museum, Boston P17e10 13
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  27. 27. A Complex Offer ● Art Museum ● Historic building ● Modern building ● Fine art collection, rare books, furniture, textiles, archival materials ● Contemporary program ● Performance space for music and dance 027
  28. 28. For our Visitors ● Not a traditional art museum ● Immersive experience ● No linear narrative ● No labels ● Make your own connections 028
  29. 29. How can Digital help to transform the visitor experience? Digital Stories Knowledge Personal & Social connections Open up access to Collections 29
  30. 30. Our starting point ● Siloed and disconnected systems ● Outdated website ● Very limited onsite digital ● Growing social media presence ● Enthusiastic, heroic staff ● Cautious management ● Huge potential
  31. 31. The way forward ● Better understand the customer journey for our different audiences and platforms ● Build a digital ecosystem that can support our ambitions ● Prioritize projects and focus on impact ● Prototype and experiment ● Measure impact and create a feedback loop ● Build staff confidence ● Move at a sustainable, affordable and scaleable pace 031
  32. 32. Digital Priorities Website & Social Media Onsite digital experiences Collections Management/ DAMs CRM IT Infrastructure 32
  33. 33. So what have we been doing? 033
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  40. 40. 04 1 My learning so far ● Start up operation ● Manage pace of change ● Challenge of ‘invest to save’ for unsexy projects ● Working in a US museum is different to the UK AND ● Huge opportunity to make an impact ● Influence in every area of the organization ● Increased staff engagement through new ways of working ● Momentum will bring rapid change
  41. 41. Digital Strategy 2.0 William Weinstein The John H. McFadden and Lisa D. Kabnick Director of Information and Interpretive Technologies MCN 2016042
  42. 42. MCN 2016043 2013 Strategic Plan
  43. 43. Digital Strategy MCN 2016:044 ENGAGING audiences Dramatically Increase Visitation and Strengthen Participation, Onsite as well as Online Through Digital Technologies ENHANCING the visitor experience Provide a More Memorable and Engaging Experience for Digital Visitors ACTIVATING our collections Bring the Collections to the Heart of the Museum Experience as the Principal Means for Increasing On-site and Online Participation STRENGTHENING our commitment to community Fulfill our Role as a Civic Institution by Engaging the Community more Broadly and Serving as a Vital Resource for Arts Education
  44. 44. Collection Information Projects (2013-2016) MCN 2016045 • Imaged over 48,000 objects • Added over 51,000 objects to online database • Developed minimum catalog information standard
  45. 45. System Updates (2013-2016) MCN 2016046 • Deployed new admissions system and ecommerce site • Deployed new Retail POS and ecommerce site • Installed WiFi (public and private) • Installed new fiber backbone • Installed new VoIP system • Updated network electronics
  46. 46. Interactive Projects (2013-2016) MCN 2016047 • Launched location aware mobile app using iBeacon technology • Deployed new in gallery kiosks and immersive experiences • Launched new collection section online
  47. 47. Engaging Technology Audience (2013-2016) MCN 2016048 • Held Minecraft event as part of design exhibit • First Annual Hackathon March 2016
  48. 48. MCN 2016049
  49. 49. Digital Roadmap (2016-2019) MCN 2016050 • Updated Digital Presence (2016-2017) ‒Cross platform integration ‒Content strategy •Development of mobile app (2017-2018) •Digital Museum ‒Recommendation engine ‒Wearables ‒Open museum api
  50. 50. MCN 2016051
  51. 51. Princeton University Art Museum: Accessible Collections Janet Strohl-Morgan Associate Director for Information & Technology MCN 2016: The Digital Strategy Ecosystem052 Circus Acrobats, 1981 George Segal, American 1924-2000 Plaster, 182.9 x 366.1 x 51.1 cm, Gift of the George and Helen Segal Foundation, 2009-80 a-c, Photo: Bruce M. White, © 1981 The George and Helen Segal Foundation *All works of art in this presentation are from the Princeton University Art Museum
  52. 52. Open Access to a Museum’s Collection MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum053 Accessibility, as defined by Merriam-Webster: - Able to be reached or approached. - Able to be used or obtained - Easy to appreciate or understand In Museum speak . . .
  53. 53. Open Access to a Museum’s Collection MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum054
  54. 54. Open Access to a Museum’s Collection MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum055
  55. 55. Open Access to a Museum’s Collection MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum056
  56. 56. The Power of the Plan MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum057 Making the collections and exhibitions accessible to students, scholars, and visitors of all kinds. We will increase access to the Museum and its resources for teaching, research, and engagement by expanding and enhancing physical and virtual access to the collections, investing in information technologies, increasing the visibility and impact of our collections and exhibitions, and by making targeted improvements to the current facility.
  57. 57. Collections Discovery Initiative MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum058 July 1, 2015 – June 30, 2020 - Analog to Digital - Object-based Research - Publish online with improved Infrastructure and Retrieval Tools
  58. 58. Funding MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum059 Money Tree Chinese, Eastern Han dynasty, A.D. 25–220, Place made: China Bronze with ceramic base, h. ca. 135 cm., Museum purchase, Fowler McCormick, Class of 1921, Fund, 1999-79
  59. 59. Collaboration & Communication MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum060 Walking Alone in Empty Mountains Chinese, Ming dynasty, 1368–1644, Zhu Bang, 16th century, Place made: China, Hanging scroll; ink and light color on paper Painting: 161 x 91.5 cm., mount: 249 x 102.1 cm. Gift of DuBois Schanck Morris, Class of 1893, y1947-135
  60. 60. Metrics & Impact: Making the Invisible Visible MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum061
  61. 61. Progress: Achieving our Goal MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum062
  62. 62. Shameless Plug for MCN SIGs: All are Welcome! MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum063 Wednesday, November 2 5 – 5:45 pm SIGs Happy Hour, Rhythms Ballroom Friday, November 4 8 – 9 am Vendor-sponsored SIG Birds of a Feather Breakfast, Ile de France A few open spots remain. See a SIG chair to sign up! 12:30 to 1 pm SIG business meeting
  63. 63. Thank you! MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum064 Janet Strohl-Morgan, Co-chair Strategy SIG, MCN Associate Director for Information & Technology, Princeton University Art Museum Greek, Double mask, Terracotta, h. 5.6 cm., w. 4.6 cm., d. 4.8 cm., Gift of Edward Sampson, Class of 1914, for the Alden Sampson Collection, y1964-125
  64. 64. Slide Two Credits (from left to right) MCN 2016: The Digital Strategy Eco System, Janet Strohl-Morgan, Princeton University Art Museum065 Yoruba artist, Place made: Nigeria, Tunic, late 19th–early 20th century, Glass and stone beads, fabric, and thread, approximately: 101.6 x 71.1 cm., Museum purchase, Fowler McCormick, Class of 1921, Fund, 2012-77, Photo: Bruce M. White Chinese, Southern Song dynasty, 1127–1279, Place made: China, Guanyin seated in Royal-ease pose, ca. 1250, Wood with traces of blue-green, red, and gold pigments on white clay underlayer with relief designs, h. 110.0 cm., approx w. 79.0 cm., approx d. 50.0 cm., Museum purchase, Carl Otto von Kienbusch Jr., Memorial Collection, y1950-66 Protoclassic, Late Olmec to Early Maya, Place made: Southern Mesoamerica, Mexico, Guatemala, or Belize, Face pendant, ca. 400 B.C.–A.D. 200, Emerald-colored jadeite, h. 5.7 cm., w. 5.7 cm., d. 1.3 cm., Museum purchase, Fowler McCormick, Class of 1921, Fund, 2012-101, Photo: Bruce M. White David Smith, American, 1906–1965, Cubi XIII, 1963, Stainless steel, 289.6 x 208.6 x 55.2 cm., The John B. Putnam Jr. Memorial Collection, Princeton University, y1969-19, © Estate of David Smith / Licensed by VAGA, NY, Photo: Bruce M. White Hans (Jean) Arp, French, born Alsace, 1886–1966, Plastron et cravate (Shirtfront and Necktie), 1927, Cut and painted cardboard in painted wood frame, 51.1 x 39.1 x 0.6 cm., Museum purchase, Fowler McCormick, Class of 1921, Fund, 2012-1, © 2013 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Photo: Bruce M. White Claude Monet, French, 1840–1926, Water Lilies and Japanese Bridge, 1899, Oil on canvas, 90.5 x 89.7 cm., From the Collection of William Church Osborn, Class of 1883, trustee of Princeton University (1914-1951), president of the Metropolitan Museum of Art (1941-1947); given by his family, y1972-15, Photo: Bruce M. White Early Intermediate (Middle Nasca), Nasca, Place made: South coast, Peru, Spouted vessel with strap handle in the form of a seated man with a moustache and small goatee, A.D. 330–430, Ceramic, painted dark brown, dark tan, red, raw sienna, and cream, h. 11.7 cm., diam. 10.4 cm., Gift of Carol R. Meyer in honor of Gillett G. Griffin, y1990-15 James Edward Davis, American, 1901–1974, Prelude, Photograph, 27 x 34.5 cm., Gift of James Edward Davis, x1968-32 Edgar Degas, French, 1834–1917, Dancers, ca. 1899, Pastel with charcoal on tracing paper mounted on cream wove paper, 58.8 x 46.3 cm., Bequest of Henry K. Dick, Class of 1909, x1954-13, Photo: Bruce M. White
  65. 65. What’s happening at Mia? Douglas Hegley MCN 2016066
  66. 66. Strategy MCN 2016067 @dhegley
  67. 67. Deepening Relationships MCN 2016 06 8 @dhegley
  68. 68. Talent Strategy MCN 2016069 Source: Source: http://media-cache- @dhegley
  69. 69. MCN 2016070 Collaborative work environment Together, toward common goals Alignment with strategic plan Workplace culture, applied @dhegley
  70. 70. Workplace Culture Values MCN 2016071 Generosity - you give praise freely Agility - you think on your feet and can turn on a dime Emotional Intelligence - you leave the drama in the artwork Positive Energy - your smile is infectious Drives Results - you keep your eyes on the ball, setting goals and achieving them @dhegley
  71. 71. Ecosystems? We’ve got plenty of ecosystems ... MCN 2016072 @dhegley
  72. 72. MCN 2016073
  73. 73. MCN 2016074
  74. 74. MCN 2016075 The Small World Network Ecosystem, Simplified Marketing Registration Exhibition Planning Digital Experience Team Media Production
  75. 75. What’s happening at HAM? Jeff Steward Harvard Art Museums MCN 2016076
  76. 76. We don’t have a digital strategy MCN 2016077
  77. 77. But we have a mission statement MCN 2016078
  78. 78. But we have a mission statement MCN 2016079 The Harvard Art Museums—the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum—advance knowledge about and appreciation of art and art museums. The museums are committed to preserving, documenting, presenting, interpreting, and strengthening the collections and resources in their care. The Harvard Art Museums bring to light the intrinsic power of art and promote critical looking and thinking for students, faculty, and the public. Through research, teaching, professional training, and public education, the museums encourage close study of original works of art, enhance access to the collections, support the production of original scholarship, and foster university-wide collaboration across disciplines.
  79. 79. Lightbox Gallery MCN 2016080 An experimental space for the research and development of digital tools. Developed in collaboration with faculty, staff, students, and visiting artists, Lightbox Gallery projects challenge how we document, share, and examine collections and collections data. Some of these projects are responsive, allowing users to navigate and manipulate the collections; others are cinematic, transforming the museums into a landscape of digital performance. Exploration in the Lightbox Gallery is cross-disciplinary, merging a gallery experience with a digital lab.
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  82. 82. MCN 2016083 Ben Rivers: The Shape of Things Artist Ben Rivers collaborates with curatorial fellow Chris Molinski to define a project. Ben R. and Chris M. discuss with technologists the feasibility of implementing the project. Chris M. loops in conservators and curators to mine the collection and handle and research objects so Ben R. can produce raw material for the project. Ben R. starts to produce the raw material for the project. Ben R. shares raw material with technologists for prototyping and testing. Everyone continues to work together to finish and deploy the project.
  83. 83. MCN 2016084
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  85. 85. How did we get here? MCN 2016086
  86. 86. Food MCN 2016087
  87. 87. Questions? MCN 2016088
  88. 88. Thank you MCN 2016089