Reverse Perverse (ffrench Ppt)


Published on

PowerPoint talk by John ffrench, Yale University Art Gallery Associate Director for Visual Resources given at the MCN 2009 conference as part of the Reverse Perverse Economics Panel.

1 Like
  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide
  • My name is John ffrench and I am the Associate Director for the Visual Resources department at the Yale University Art Gallery in New Haven Connecticut. I oversee the photography and the Rights and Reproductions which 4 years ago were brought under one umbrella. Since that merge and change in oversight we have made several changes in the ways in which we make our images accessible for scholarly study, publication and commercial usage.
  • Via the Gallery’s main website we have a page which briefly describes the three main categories we group requests into and make request forms available for download and submission. These forms are received primarily via e-mail, but also are submitted by fax or postal mail as well. Our R&R staff which consists of 1 1/2 people plus a student worker review these requests and determine usage fees.
  • We currently have just over 25,000 high-resolution/publication ready images available, and because we are a direct digital photography studio and schedule in time for such requests, our turn-around time for new photography is generally 3-4 weeks (we do not charge a fee for new photography unless the request is for a provide for a Commercial Reproduction requests, something which under review currently and may too become free). * The concept of providing new photography for free is that the Gallery is actually benefitting from the request in that the work is getting out into a public forum and therefore is of service to us and the object. Since making this decision we have seen a 38% increase in requests for images overall.
  • Of the requests we process internally, approximately 85% of the requests are of a scholarly/non-profit nature, 15% are for commercial request. We currently are still charging Scholarly/Non-profit reproduction fees (at reduced rates of our Commercial fees), however the Gallery and Yale are currently considering giving away all aspects of this category for free. The reason the rates on the screen do not match those percentages is that we charge at different rates for each group.
  • eCatalogue is an in-house designed database fed from our TMS collections database with nightly updates. First launched in 2007, this database allows external visitors to search our permanent collection records for objects housed in our collection. In the last year the decision was made by the curatorial departments to share any image we have available regardless of quality; as illustrated here. (if an image does not exist only textual data is available). The program has gone through annual updates since launch and in our next version we plan to share multiple images, when available, per object whereas today we only share what is identified as the “primary” image in TMS. Currently there are 95,000 records available in eCatalogue, 73,000 of which have images associated with them. Via eCatalogue, users have the ability to right-click on images and download them to their desktop for research purposes (stated in our usage policy made available in the ‘Terms and Conditions’ section of the site)
  • We currently work with three separate 3rd party licensing companies who are representing just over 600 of our more popular images for commercial requests. Working with companies like these allow us to one, focus our internal efforts on efficiently providing images for research and scholarly/non-profit purposes (commercial requests typically take the most time to expedite due to more involved contracts), and two, do provide an income stream to the Gallery with minimal effort on our part. While the incomes generated do not cover our internal costs of processing requests, it is a means of offsetting costs. Yale and the Gallery are furthering a relationship on campus with ARTstor, and will be contributing to the SharedShelf project which will include ‘Images for Academic Publishing’
  • Reverse Perverse (ffrench Ppt)

    1. 1. Reverse Perverse Economics: Giving it away to increase sales <ul><li>Rights and Reproductions policy at the Yale University Art Gallery. </li></ul>Author : Updated : John ffrench 08/08/2008 Museum Computer Network, 2009 - Panel Talk Friday, 13 November - 11:15am-12:45pm
    2. 2. Reverse Perverse Economics: Brief history . . Yale University Art Gallery ◆ The Yale University Art Gallery’s permanent collection includes over 185,000 works, organized into ten curatorial areas. The Yale University Art Gallery is the oldest university art museum in the western hemisphere. 1926 1832 - 1901 1953
    3. 3. Reverse Perverse Economics: Web presence: main site . . Yale University Art Gallery http:// artgallery
    4. 4. Reverse Perverse Economics: Categories . . Yale University Art Gallery ◆ 25,000 hi-res publication ready images ◆ No charge for research images / photography ◆ Professional grade images for reproductions ◆ 38% increase in requests as a result ◆ Most requests are for Scholarly publication ◆ General turn around time is 4 weeks ◆ Internally generated income for last fiscal year was $35,000
    5. 5. Reverse Perverse Economics: Incomes (fy09 - internally) . . Yale University Art Gallery ◆ Commercial $ 16,947.00 ◆ Scholarly/non-profit $ 16,374.50 ◆ Research $ 0 total $33,321.50 ◆ 75% of our internal requests are Scholarly related.
    6. 6. Reverse Perverse Economics: Web presence: eCatalogue . . Yale University Art Gallery Online Collections Database ◆ Images available for rt-click at 700 pixels ◆ Only permanent collection objects ◆ Images vary in quality (if available)
    7. 7. Reverse Perverse Economics: 3rd Party Licensing (fy09) . . Yale University Art Gallery ◆ Art Resource: Began relationship in 2007, average is $15,000 per year ◆ Scala: Began relationship in 2008, average income is $4,200 per year ◆ DNP: Began relationship in January 2008, average income is $1,500 per year (avg. not a full year yet) With the 3rd party companies we are sharing the same set of images to each of the three companies. ◆ ARTstor (Shared Shelf) Art Resource Scala DNP Image Archives
    8. 8. Reverse Perverse Economics: Mellon meeting December 1st . . Yale University Art Gallery ◆ 14 museums meeting including the Yale University Art Gallery, and the Yale Center for British Art. ◆ Topic of Images in Scholarly Publishing . &quot;...discussion of current challenges for scholarship in art historical and related disciplines, in particular as these are related to the fees charged by museums when licensing images.&quot; The Use of Art Museum Images for Scholarly Publication
    9. 9. . . Yale University Art Gallery Pros Cons Reverse Perverse Economics: Pros and Cons Online RT-Click ability Quick Access for Scholars Minimal file management No control of image use No means of tracking Image quality varies Free Academic Research Images (via e-mail) Happier researchers Less paperwork Faster turn-around No income for work done to prepare and send files Not Charging for new Photography Potentially drive more requests to your collection Potentially drive more requests to your collection Loss of revenue 3rd party licensing Reduces burden on staff Broader visibility Initial initiation of relationship can be involved.
    10. 10. Yale University Art Gallery Conclusions . . Yale University Art Gallery ◆ The concept of providing new photography for free is that the Gallery is actually benefitting from the request in that the work is getting out into a public forum and therefore is of service to us and the object. ◆ The images are often already out there, giving them away is a means to (hopefully) control the quality of files that are being used. ◆ Staff time is reduced by not having to handle financial transactions, but may be increased due to being free. ◆ By maintaining 3rd party relationships all commercial requests can be filtered out allowing internal staff to focus on Scholarly needs in a more timely fashion.
    11. 11. Yale University Art Gallery Contacts <ul><li>John ffrench - Visual Resources, Project Management [email_address] </li></ul><ul><li>Kathleen Mylen-Coulombe - Rights and Reproductions, Coord. [email_address] </li></ul><ul><li>David Whaples - Visual Resources, Requests facilitator [email_address] </li></ul>. . Yale University Art Gallery