Toledo Museum of Art 2010 Strategic Planning


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TMA Director Brian Kennedy made formal presentations to our board and staff the week of December 6 regarding preliminary findings and overall direction after Phase 1 of our strategic planning process. The complete presentation is here. This is a draft document only and is meant to generate additional thought and an outline for future planning. Your questions and comments are welcome.

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Toledo Museum of Art 2010 Strategic Planning

  1. 1. A Design Vision for the Toledo Museum of Art Presentation to Museum Board | December 6, 2010 Brian P. Kennedy, Director
  2. 2. Toledo’s Past Key Word: Design = Design (the eye) + Manufacture (the hand from French: main) Toledo’s Present and Future Key Word: Design = Design + Manufacture Remember: The Toledo Museum of Art did not just happen: It was caused 1
  3. 3. Design Principles 1. All our activity must involve art 2. Our people are our best asset 3. Integrate art into people’s lives 4. Always seek to add value 5. Plan, implement, evaluate 6. Money follows good ideas 2
  4. 4. Education Multiple Intelligence/ Multiple Literacy Sensory Literacy Textual/Technical Literacy (Arts/Environmental/ (digits/letters) Social/Behavioral) Humanity (Critical Thinkers) Artificial Intelligence Knowledge 8 Computer Literacy
  5. 5. Howard Gardner: Multiple Intelligences 5 9
  6. 6. Purpose of the Toledo Museum of Art Art Education To provide access to works of art in the museum and provide information about them 10
  7. 7. Typical Art Museum: Purposeful/Intentional Collections Audiences Purpose Resources 11
  8. 8. TMA Model: Activity Based Art Staff Buildings Funds Collections Audiences Activity Intellectual Property Knowledge Expertise Experiences 13
  9. 9. Data Gathering Process: September - November, 2010 Ten questions asked and one assignment Internal stakeholders participating: - Full and part-time staff - Board - Docents - Ambassadors - Museum Instructors - Protective Services - Volunteers - UT Center for Visual Arts Faculty 14
  10. 10. Data Gathering Process: September - November, 2010 Over 400 participants Replies gathered, being processed (300 pages). Report available end January 2011 All replies will be available to internal stakeholders via websites or email 15
  11. 11. The Questions: 1. What are your best and fondest memories of the Toledo Museum of Art? 2. What have you been involved with personally at TMA that gave you the greatest satisfaction? 3. What is your burning issue(s) in the community right now? (You can interpret "the community as narrowly or as broadly as you wish). 4. Who are the people who could consume our product but do not do so now? How will we attract them? 5. In five year's time, what would you want to be different/the same about TMA? 16
  12. 12. The Questions: 6. What organizations, whether in Toledo or elsewhere, should we partner with to achieve our objectives? 7. How should we leverage our potential as an art museum with local schools and universities? 8. What exhibition projects should we undertake, of what sort, with whom, and why? 9. What ways can we leverage the expertise of our staff so that it is more available within the community? 10. What should we do to make better use of the Peristyle? 17
  13. 13. The Assignment: You are the Chief Art Critic of the New York Times. Your article for the NYT written in November 2015 takes the format: "In November 2010 I visited the Toledo Museum of Art and I found....Returning in November 2015 I find...." 18
  14. 14. So What Are We Going to Do? 14 19
  15. 15. TMA’s Art Collections 30,000 works/3 Parts 1. The Permanent/Rotating Public Display Collection 2. The Reference Collection 3. The Glass Collection 20
  16. 16. TMA’s Art Collections The Permanent/Rotating Public Display Collection World renowned for quality/distinguished individual works Continue to acquire only top quality/singular works by singular artists, known or unknown, from all periods and cultures Address areas of world art not currently represented Deaccession works of lesser quality 21
  17. 17. TMA’s Art Collections The Reference Collection (Mainly in various media on paper) Large but not comprehensive of world art Inadequately published and used, despite better efforts in recent decades. Inadequately resourced – must be better displayed Limit acquisitions until better usage/collection development plan is devised and implemented Deaccession works of lesser quality 22
  18. 18. TMA’s Art Collections The Glass Collection Aims to be comprehensive (quasi-encyclopedic) One of two such collections in the US (Corning Museum the other) One of the world’s great glass collections Must be displayed optimally Continue to develop by acquiring works of singular merit and distinction Connect with history of Toledo as the Glass City 23
  19. 19. Promote Art Collections for our Digital World • TMA behind in dissemination of information about its art collections using electronic platforms • Much documentation work done already to prepare collections for internet use • Invest in digital TMA • Invest in new media, particularly social media 24
  20. 20. Visibility • Increase marketing and P.R. locally, regionally, nationally, internationally (―you’re doing great work, not enough people know about it‖) • Focus on the Visitor’s experience – actual and virtual visitors • Become market-driven 25
  21. 21. Visibility • Segment our audiences • Evaluate our programs • Develop membership (loyalty) programs with mass market appeal • Develop TMA brand 26
  22. 22. Visual Literacy • Visual literacy is the ability to construct meaning from images (all that we see) • Visually literate people can read and write visual language • Visual art is a form of communication. It is a language with an alphabet, a vocabulary and grammar. We need to teach this! 27
  23. 23. Visual Literacy • TMA is an institution of higher learning available to all • TMA deals in the products of artists but is also invested currently in studio art education • As an art museum, we should focus on art history, art appreciation, critical thinking through visual learning and museum studies. We need to re-examine our current priorities and re-focus them. 28
  24. 24. Visual Literacy • Develop ―Learning to Look‖ courses and build digital databases about our art collections. • Leverage information about our art collections—labels, brochures, books, catalogs, etc.—in digital formats. 29
  25. 25. Partnerships with Schools (K-12) and Life Long Learners • Develop visual literacy strategy for K-12 schools • Develop strong relationships with Toledo School for the Arts • Explore potential of digital platforms within school system to disseminate information about TMA and collections 30
  26. 26. Partnerships and Collaborations • Develop partnerships with diploma and degree giving higher education institutions and K-12 schools. • Develop stronger relationships with local and regional higher education institutions. • Develop partnerships with commercial businesses based on shared benefit strategies. 31
  27. 27. Partnerships and Collaborations • Sell/trade TMA intellectual property (knowledge, expertise, experiences) by finding partners who will leverage us. • Advertise in unexpected places (i.e. Partner with healthcare providers, sports venues, quality design companies) 32
  28. 28. Succession Planning : Attract Young People • TMA visitation in 2009/10 – 430,000 visitors • Population of world = Over 7 Billion • 2 billion have internet access (42% or 825 million are in Asia). 33
  29. 29. Succession Planning: Attract Young People • The internet became publicly available in August 1991 • All those born after 1991 are digital natives • Internet penetration in Asia is 21.5% but in USA is 77.4% 34
  30. 30. Succession Planning: Attract Young People • We are living in the third great print revolution of history (Cuneiform writing - 3000 years ago,Gutenberg Press over 500 years ago, digital world – 20 years ago) • Exciting time to be alive – a huge opportunity! • Go attract young people and all who are digital savvy! 35
  31. 31. Exhibitions/ Publications Major Exhibitions 2011/2012 The Baroque World of Fernando Botero (spring 2011) Frank Stella: Irregular Polygons (spring/summer 2011) Small Worlds (Fall/Winter 2011) Studio Color and Art Glass (Summer 2012) 50th anniversary of Studio Glass Movement Manet Portraits (Fall 2012) 36
  32. 32. Exhibitions/ Publications •All exhibitions to have a related publication •Publications in digital and/or hardcopy formats as necessary •Leverage back catalog of museum publications (partner with those who can disseminate it digitally) 37
  33. 33. Exhibitions/ Publications •Produce publications on under-promoted areas of collection (especially works on paper) •Publish dynamically about contemporary art •Create niche reputation for publications about visual literacy 38
  34. 34. Contemporary Art and Artists • Great art is made by great artists • Most artists who made the works of art in TMA are dead • Attract participation of great living artists 39
  35. 35. Contemporary Art and Artists • Acquire distinguished works by great artists, living or dead • Consider Artist in Residence and expand Visiting Artist Program • Have special regard to including artists working in glass 40
  36. 36. Funding • Review existing sources of funding • Are we using our fund for the best purposes for TMA development? • Seek new and revisit previous program sources of funding – develop partnerships 41
  37. 37. Funding • Develop and implement strategy to engage major donors, foundation and corporate support, and planned giving. • Remember: TMA did not just happened: it was caused. • Develop menu of TMA activities requiring funding • Actively engage Museum Board in fundraising (We need you/We need you more!) • Develop earned income (TMA products, special events, new café plan) 42
  38. 38. Staff • Build integrated management system • Reorganize ground floor offices to give staff access to daylight and to foster better communication • Devise and implement Performance Review System: staff orientation, training and development, succession plans 43
  39. 39. Staff • Consider what is the best role for our Protective Services Staff and Docents • Hire young people as interns, especially recent graduates, to foster greater communication about the digital world and to keep us relevant • Partner with corporate businesses to have TMA Staff participate in their training programs 44
  40. 40. Building • Complete Wolfe Gallery, refurbish Levis Galleries (where Botero will be shown) • Implement continuous-improvement building maintenance plan • Continue to advance use of alternate energy sources and efficient utility systems • Consider developing the Learning Center as an integrated Museum Center for Visual Literacy 45
  41. 41. Conclusions Objectives/Activities for TMA TMA’s art collections: develop and promote them Use digital technology Increase visibility of TMA for all audiences Promote visual literacy Develop partnerships and collaborations 46
  42. 42. Conclusions Objectives/Activities for TMA Attract young people Develop exhibitions/publications Involve contemporary art and artists Develop and implement funding plan Develop capability of TMA staff Align building facilities with current TMA objectives 47