The document discusses Tate's extensive collection of British art and international modern and contemporary art, attracting 1.5 million online visitors per month. It details the engagement strategies through albums and outreach programs for young audiences, as well as online learning resources. Additionally, it addresses the balance between access and openness in content licensing and the tension between museum authority and audience interpretation.

1. John Stack, Head of Digital, Tate

2. Brochure ➜ Channel ➜ Platform

4. • UK’s collection of British art from 1500 onwards and
of international modern and contemporary art
(70,000)

5. • UK’s collection of British art from 1500 onwards and
of international modern and contemporary art
(70,000)
• British art archive (millions)

6. • UK’s collection of British art from 1500 onwards and
of international modern and contemporary art
(70,000)
• British art archive (millions)
• 1.5 million online visitors per month

7. • UK’s collection of British art from 1500 onwards and
of international modern and contemporary art
(70,000)
• British art archive (millions)
• 1.5 million online visitors per month
• 35% visits to online collection (Art & Artists)

8. • UK’s collection of British art from 1500 onwards and
of international modern and contemporary art
(70,000)
• British art archive (millions)
• 1.5 million online visitors per month
• 35% visits to online collection (Art & Artists)
• Half branded search and half non-branded

9. • UK’s collection of British art from 1500 onwards and
of international modern and contemporary art
(70,000)
• British art archive (millions)
• 1.5 million online visitors per month
• 35% visits to online collection (Art & Artists)
• Half branded search and half non-branded
• L-shaped usage

10. • UK’s collection of British art from 1500 onwards and
of international modern and contemporary art
(70,000)
• British art archive (millions)
• 1.5 million online visitors per month
• 35% visits to online collection (Art & Artists)
• Half branded search and half non-branded
• L-shaped usage
• Archives and Access (HLF-funded digitisation)

22. • Albums built as part of outreach programme with
regional archives and historical societies

23. • Albums built as part of outreach programme with
regional archives and historical societies
• Albums used for young people’s online
programme

24. • Albums built as part of outreach programme with
regional archives and historical societies
• Albums used for young people’s online
programme
• Online learning resources built with Albums

25. • Albums built as part of outreach programme with
regional archives and historical societies
• Albums used for young people’s online
programme
• Online learning resources built with Albums
• Albums for editorial content highlighting

26. • Albums built as part of outreach programme with
regional archives and historical societies
• Albums used for young people’s online
programme
• Online learning resources built with Albums
• Albums for editorial content highlighting
• Albums as part of in gallery digital learning
activities

27. • Albums built as part of outreach programme with
regional archives and historical societies
• Albums used for young people’s online
programme
• Online learning resources built with Albums
• Albums for editorial content highlighting
• Albums as part of in gallery digital learning
activities
• Share and promote our favourite Albums

29. • Whereas “access” aligns with museum’s mission,
does openness conflict with some of our our values?

30. • Whereas “access” aligns with museum’s mission,
does openness conflict with some of our our values?
• How open can/should our content licences be?

31. • Whereas “access” aligns with museum’s mission,
does openness conflict with some of our our values?
• How open can/should our content licences be?
• What is and isn’t acceptable usage of a museum’s
participatory platform?

32. • Whereas “access” aligns with museum’s mission,
does openness conflict with some of our our values?
• How open can/should our content licences be?
• What is and isn’t acceptable usage of a museum’s
participatory platform?
• How do we resolve the tension between the
museum’s authority and the audience’s
interpretation?

33. John Stack, Head of Digital, Tate