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CC BY-SA 4.0 Ida Tietgen Høyrup
Merete Sanderhoff
Curator / Senior Advisor
Statens Museum for Kunst
@MSanderhoff
SET ART FREE
and the rest will follow?
Communicating Digital Collections
Finnish National Gallery
Helsinki, 22 January 2016
CC BY-SA 4.0 Ida Tietgen Høyrup
SMK in brief
The National Gallery of Denmark
Western art from 1300 to the present
450,000 visitors a year
260,000 artworks
66 % in the public domain
27 % digitised
2,000 artworks
are on display
Only 0.76 % of the collections
are physically accessible
”There is not a single physical space
where all our heritage can be shown,
but on the Internet you can.”
Lizzy Jongma
data manager, Rijksmuseum
http://pro.europeana.eu/files/Europeana_Professional/Publications/Democratising
%20the%20Rijksmuseum.pdf
Today, we can offer online services that are
available from everywhere to anyone
seeking "to participate in the cultural life
of the community, to enjoy the arts and to
share in scientific advancement and its
benefits".
Article 27.1 of the Universal Declaration of Human Rights
500,000 visitors a year
37,000 artworks
70 % are in the public domain
2 % are on display
70 % is digitised
Photo © Google
Overview
1. Why open collections?
2. Facilitation is key
3. Potentials of opening up
Museums have always been
places for learning
http://www.vam.ac.uk/content/articles/j/japanese-cloisonne-in-19th-century-literary-sources/
Today,
learning happens everywhere…
…but often,
outside formal institutions
Published in 2010
“…among the educated, Internet connected
inhabitants of planet Earth, there are
1 trillion hours of free time every year
that could be used for community action,
civic engagement, and learning..”
And since 2010, a billion more
people have come online.*
* DARK MATTER, Michael Peter Edson, 2014
https://medium.com/tedx-experience/dark-matter-a6c7430d84d1
http://blog.wikimedia.org/2012/11/19/wikimedia-india-hosts-wikipedia-women-workshop-in-mumbai/
In 2016, there are more than
27 million registered
Wikipedians in the world
http://en.wikipedia.org/wiki/Wikipedia:Wikipedians
How can museums support
– and benefit from –
this cognitive surplus?
Bildung ~ Building
Maker Culture
DIY learning
active creativity
learning-by-doing
constructivist approach
practical skills
informal networks
cross-over between subjects
Maker culture has attracted the
interest of educators concerned
about students’ disengagement from
STEM subjects (science, technology,
engineering and mathematics) in
formal educational settings.
Maker culture is seen as having
the potential to contribute to a
more participatory approach to
learning and create new pathways
into topics that will make them
more alive and relevant to learners.
Innovating Pedagogy, 2013
http://arcade.dewlines.org/tag/maker-culture/
Art enhances the equation
http://stemtosteam.org/
Galleries
Libraries
Archives
Museums
Open digitised collections
open up learning
http://openglam.org/
Pioneers
A beacon
Open collections core to the brand
200,000 quality images for free download
Trustworthy source
“Our primary mission is to ‘tell the truth’. We put
as much quality in our work as possible. That is why
we share the best quality we have.”
Lizzy Jongma
data manager, Rijksmuseum
Encourages
and facilitates
creative re-use
https://www.rijksmuseum.nl/en/rijkss
Remix as a way to learn
“The action of actually working with an image,
clipping it out and paying attention to the very
small details, makes you remember it.”
http://www.nytimes.com/2013/05/29/arts/design/museums-mull-public-use-of-online-art-images.html?pagewanted=all&_r=0
Taco Dibbits
Samlingschef, Rijksmuseum
Great potentials
in open collections
http://en.wikipedia.org/wiki/The_Night_Watch_(painting)
Rijksmuseum’s quality images
are preferred online
http://en.wikipedia.org/wiki/File:The_Nightwatch_by_Rembrandt.jpg
Rijksmuseum is key reference
for its own online collection
http://en.wikipedia.org/wiki/File:The_Nightwatch_by_Rembrandt.jpg
“So far 6,499 images from the
Rijksmuseum have been uploaded to
Wikimedia Commons (...)
2,175 of these images are currently used
in various Wikipedia articles.
These images have been shown
10,322,754 times to users visiting the
articles where the material is used.”
GLAM Open Access Case Studies, internal report to The Smithsonian Board of Directors, Effie
Kapsalis, June 2015
http://en.wikipedia.org/wiki/File:The_Nightwatch_by_Rembrandt.jpg
Flushing out poor copies
SMK’s first digital strategy, 2009
We want to be a
catalyst for
users’ creativity
http://collection.smk.dk/
69,780 items
- 39,968
with image
39,968 is better
than 2,000
(by 1,898 %)
http://collection.smk.dk/
A lot of these
images carry
the CC0 mark
25,000 images
for free download
25,000 images
for free download
This tells people
they have the right
to use the images
https://creativecommons.org/publicdomain/zero/1.0/
What does it mean?
Copyright is “a little coral reef
of private right jutting up from
the ocean of Public Domain.”
Paul Torremans, Copyright law: a handbook of contemporary research, 2007
Adam Olearius, "Oftt begehrte Beschreibung Der Newen Orienthalischen Reise [...]",
Schleswig 1647, KKSgb10873/28, SMK. Public Domain
Works that are in the Public Domain in
analogue form continue to be in the Public
Domain once they have been digitised.
http://pro.europeana.eu/files/Europeana_Professional/Publications/Public%20Domain%20Charter%20-%20EN.pdf
Waiving photographic rights
The rights to photographic images of artworks in the SMK
collections belong to the museum
Waiving photographic rights
The rights to photographic images of artworks in the SMK
collections belong to the museum
The photographers’ names and affiliation with SMK
are stated in the image metadata as documentation
Waiving photographic rights
The rights to photographic images of artworks in the SMK
collections belong to the museum
The photographers’ names and affiliation with SMK
are stated in the image metadata as documentation
SMK does not demand attribution, but we encourage
users to attribute in our public domain policy
http://www.smk.dk/en/use-of-images-and-text/free-download-of-artworks/
https://twitter.com/PUBDOMAINHULK
A growing public demand
People will go elsewhere
to get images
But wait…
aren’t we
making money
on images?
"Everyone (…) wants to recoup costs but almost
none claimed to actually achieve or expected to
achieve this. Even those services that claimed to
recoup full costs generally did not account fully
for salary costs or overhead expenses.”
Reproduction charging models & rights policy for digital images in
American art museums, 2004
http://www.kdcs.kcl.ac.uk/fileadmin/documents/USMuseum_SimonTanner.pdf
Simon Tanner,
King’s College London
Pioneer experiences
The Getty realized that the revenue they were collecting (about $45K in the
financial year of 2013) to license use of their images was outpaced by the
expense of doing so.
Pioneer experiences
The Getty realized that the revenue they were collecting (about $45K in the
financial year of 2013) to license use of their images was outpaced by the
expense of doing so.
Yale Center for British Art images were never ‘a money-maker’.
Pioneer experiences
The Getty realized that the revenue they were collecting (about $45K in the
financial year of 2013) to license use of their images was outpaced by the
expense of doing so.
Yale Center for British Art images were never ‘a money-maker’.
We lost all of our income on direct sales of images, but we gained a lot of
new friends, sponsors, and new funding streams (more than we lost from
revenue).
GLAM Open Access Case Studies, internal report to The Smithsonian Board of Directors, Effie Kapsalis, 2015
Phasing out image sales
We are not here to sell cultural heritage
Phasing out image sales
We are not here to sell cultural heritage
We are here to preserve and provide
access to cultural heritage
Phasing out image sales
We are not here to sell cultural heritage
We are here to preserve and provide
access to cultural heritage
We are here to support value creation
in society*
* Inspired by Jacob Wang, National Museum of Denmark
http://www.slideshare.net/jacobwang/collections-online-national-museum-of-denmark-official-launch-october-8th-2014
But what about
loss of control
and fear of misuse?
Pioneer experiences
What greatly benefitted the Rijksmuseum is that other people started making new
creative works with the material and therefore promoting the museum on a larger
scale than they had ever been able to do themselves.
Pioneer experiences
What greatly benefitted the Rijksmuseum is that other people started making new
creative works with the material and therefore promoting the museum on a larger
scale than they had ever been able to do themselves.
Wikipedia editors prefer to use trusted material provided by the cultural institutions
themselves to illustrate the articles they are editing. This greatly benefits both the
users who have a richer experience, and the cultural institution that reaches out to a
public far beyond the scope of its own website
Pioneer experiences
What greatly benefitted the Rijksmuseum is that other people started making new
creative works with the material and therefore promoting the museum on a larger
scale than they had ever been able to do themselves.
Wikipedia editors prefer to use trusted material provided by the cultural institutions
themselves to illustrate the articles they are editing. This greatly benefits both the
users who have a richer experience, and the cultural institution that reaches out to a
public far beyond the scope of its own website.
We have lost almost all control, and it has been vital to our success.
Images of Works of Art in Museum Collections: The Experience of Open Access. A Study of
Eleven Museums. Prepared for the Andrew W. Mellon Foundation by Kristin Kelly, April 2013
Democratising the Rijksmuseum. Why did the Rijksmuseum make available their highest
quality material without restrictions, and what are the results? Joris Pekel, Europeana
Foundation, July 2014
Staff of virtually every museum mentioned the goodwill and
recognition that have come with open access, as well as a sense
of satisfaction at helping to fulfill the mission of the institution.
(…) every museum reported increased website traffic and what
they considered a significant interest in the available images.
Website visit increases ranged from about 20 to 250 percent,
with many museums reporting increases of at least 100 percent.
Pioneer experiences
Images of Works of Art in Museum Collections: The Experience of Open Access. A Study of
Eleven Museums. Prepared for the Andrew W. Mellon Foundation by Kristin Kelly, April 2013
Why open collections?
They can reach and be relevant
to more people
Why open collections?
They can reach and be relevant
to more people
They can increase learning and creativity
Why open collections?
They can reach and be relevant
to more people
They can increase learning and creativity
It is the essence of copyright law
Why open collections?
They can reach and be relevant
to more people
They can increase learning and creativity
It is the essence of copyright law
Selling images is often a poor business model
Carl Bloch, Samson and the Philistines, 1863, SMK. Public domain
Re-use can be a struggle!
Difficult to search and find images
Images are not fit for purpose
Unclear copyright status
People don’t know they are allowed to re-use museum images
Learning curve for digital re-use possibilities
Nicolai Abildgaard, Caricature of a fat man carrying a large key in his left hand, undated drawing, KKSgb3753, SMK, Public Domain
Facilitation is key
Three target groups
that are important to us
1. Learners in public schools
2. Creatives
3. Wikipedians
Facilitating re-use
by learners
Together with educators from public schools, SMK
has co-created,
Didactic designs integrating open images from SMK
in specific learning processes aligned with national
curricula
3 Skoletube channels – images, tutorials, student
productions
Tested in 20 public schools prior to launch
September 2015
Facilitating re-use
by learners
Facilitating re-use
by creatives
CCBY 4.0 ULK
The art pilots
www.ulk.dk
The art pilots is a community of curious
youngsters between 15-25 who are
passionate about art.
CCBY 4.0 ULK
The art pilots is a community of curious
youngsters between 15-25 who are
passionate about art.
Within the framework of SMK, we share
thoughts and ideas, and create and run
artistic projects together.
CCBY 4.0 ULK
The art pilots is a community of curious
youngsters between 15-25 who are
passionate about art.
Within the framework of SMK, we share
thoughts and ideas, and create and run
artistic projects together.
It is our ambition to make art a bigger part
of young people’s everyday life.
CCBY 4.0 ULK
New teams every year
CCBY 4.0 ULK
CCBY 4.0 ULK
Meetups at SMK
every Wednesday
CCBY 4.0 ULK
Facilitated by
a project manager
and an artist
CCBY 3.0 Frida Gregersen
Collaboration between the
Copenhagen Metro Company,
local citizens, and the art pilots
Cool Constructions
CCBY 3.0 Frida Gregersen
CCBY 3.0 Frida Gregersen
Collections gain new value
outside the museum
in the hands of the public
CCBY 3.0 Frida Gregersen
CCBY 3.0 Frida Gregersen
Decoration of the injection room
Skyen / ‘The Cloud’
CCBY 4.0 ULK
A space for drug users,
central Copenhagen
Open 23 hours
a day
700 drug intakes
a day
CCBY 4.0 ULK
CCBY 4.0 ULK
Re-creating places / spaces
that the drug users dream of
CCBY 4.0 ULK
CCBY 4.0 ULK
The art pilots facilitate
improved social conditions
for the users
Remix exhibition
13 artists and
designers were
invited to mix up
SMK’s collections
‘Set art free’ event
CC BY-SA 4.0 Ida Tietgen Høyrup
A celebration
of open collections
Remix exhibition
Culture Cam installation
VanGoYourself workshop
Wiki edit-a-thon
Animated GIF workshop
Performances
Film screenings
Artist talks
Art DJ’s
The artists got to change
our museum for a weekend
CC BY-SA 4.0 Merete Sanderhoff
Filip Vest, 22 Skies
CC BY-SA 4.0 Ida Tietgen Høyrup
CC BY-SA 4.0 Ida Tietgen Høyrup
Their remixes ranged
from lasercut installations…
CC BY-SA 4.0 Ida Tietgen Høyrup
…over tapestries,
fashion clothes, collages…
Harald Slott-Møller, Danish landscape, 1891
Product of Public Domain
CC BY-SA 4.0 Ida Tietgen Høyrup
Jamie Seaboch, Collage
CC BY-SA 4.0 Ida Tietgen Høyrup
…to a pop-up version of a painting
with motorized moving light
CC BY-SA 4.0 Ida Tietgen Høyrup
Kati Hyyppä, As light goes by
CC BY-SA 4.0 Ida Tietgen Høyrup
Artists talks
- communicating the remixes
CC BY-SA 4.0 Ida Tietgen Høyrup
Huge interest from the audience
CC BY-SA 4.0 Ida Tietgen Høyrup
A unique meeting between new and old
CC BY-SA 4.0 Ida Tietgen Høyrup
More than 6,000 people
joined the party
CC BY-SA 4.0 Ida Tietgen Høyrup
Facilitating re-use
by Wikipedians
* In collaboration with The Hirschsprung Collection
CC BY-SA 4.0 Ida Tietgen Høyrup
Monthly Wiki Labs at SMK*
- to learn about Wikipedia
and how we can support their work
Effective way to open collections
20 million page views
on Wikipedia in 2015
Wikipedians are facilitators
for museums too
https://commons.wikimedia.org/wiki/Commons:GLAMwiki_Toolset_Project
Work in progress
At SMK, we still need to
Speed up digitisation
Put more high quality images online
Build sustainable infrastructure to make life easier for
users and staff
Prioritise facilitation of re-use as a core task
Great potentials in further
opening up your collections
37,000 artworks
70 % are in the public domain
70 % is digitised
Photo © Google
Metadata is already CC0
You’re connecting with Wikipedia
You have a dedicated facilitator
and a world of potential users
”Our role is still more to facilitate public use of
cultural heritage for learning, creativity, and
innovation.
Today, learning happens in reciprocity.
We are all a part of the web.
We shape each other.”
Mikkel Bogh
Director, SMK
http://bit.ly/1dMX0BJ
Read more about
the potentials and
deliberations of
opening up
sharingiscaring.smk.dk
CC BY-SA 4.0 Ida Tietgen Høyrup
Merete Sanderhoff
Curator / Senior Advisor
Statens Museum for Kunst
@MSanderhoff
Communicating Digital Collections
Finnish National Gallery
Helsinki, 22 January 2016
slideshare.net/MereteSanderhoff

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Set art free and the rest will follow?

  • 1. CC BY-SA 4.0 Ida Tietgen Høyrup Merete Sanderhoff Curator / Senior Advisor Statens Museum for Kunst @MSanderhoff SET ART FREE and the rest will follow? Communicating Digital Collections Finnish National Gallery Helsinki, 22 January 2016
  • 2. CC BY-SA 4.0 Ida Tietgen Høyrup SMK in brief The National Gallery of Denmark Western art from 1300 to the present 450,000 visitors a year 260,000 artworks 66 % in the public domain 27 % digitised
  • 4. Only 0.76 % of the collections are physically accessible
  • 5. ”There is not a single physical space where all our heritage can be shown, but on the Internet you can.” Lizzy Jongma data manager, Rijksmuseum http://pro.europeana.eu/files/Europeana_Professional/Publications/Democratising %20the%20Rijksmuseum.pdf
  • 6. Today, we can offer online services that are available from everywhere to anyone seeking "to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits". Article 27.1 of the Universal Declaration of Human Rights
  • 7. 500,000 visitors a year 37,000 artworks 70 % are in the public domain 2 % are on display 70 % is digitised Photo © Google
  • 8. Overview 1. Why open collections? 2. Facilitation is key 3. Potentials of opening up
  • 9. Museums have always been places for learning http://www.vam.ac.uk/content/articles/j/japanese-cloisonne-in-19th-century-literary-sources/
  • 13. “…among the educated, Internet connected inhabitants of planet Earth, there are 1 trillion hours of free time every year that could be used for community action, civic engagement, and learning..” And since 2010, a billion more people have come online.* * DARK MATTER, Michael Peter Edson, 2014 https://medium.com/tedx-experience/dark-matter-a6c7430d84d1
  • 15. In 2016, there are more than 27 million registered Wikipedians in the world http://en.wikipedia.org/wiki/Wikipedia:Wikipedians
  • 16. How can museums support – and benefit from – this cognitive surplus?
  • 18. Maker Culture DIY learning active creativity learning-by-doing constructivist approach practical skills informal networks cross-over between subjects
  • 19. Maker culture has attracted the interest of educators concerned about students’ disengagement from STEM subjects (science, technology, engineering and mathematics) in formal educational settings. Maker culture is seen as having the potential to contribute to a more participatory approach to learning and create new pathways into topics that will make them more alive and relevant to learners. Innovating Pedagogy, 2013 http://arcade.dewlines.org/tag/maker-culture/
  • 20. Art enhances the equation http://stemtosteam.org/
  • 23. A beacon Open collections core to the brand 200,000 quality images for free download
  • 24. Trustworthy source “Our primary mission is to ‘tell the truth’. We put as much quality in our work as possible. That is why we share the best quality we have.” Lizzy Jongma data manager, Rijksmuseum
  • 27. Remix as a way to learn “The action of actually working with an image, clipping it out and paying attention to the very small details, makes you remember it.” http://www.nytimes.com/2013/05/29/arts/design/museums-mull-public-use-of-online-art-images.html?pagewanted=all&_r=0 Taco Dibbits Samlingschef, Rijksmuseum
  • 29.
  • 32. http://en.wikipedia.org/wiki/File:The_Nightwatch_by_Rembrandt.jpg “So far 6,499 images from the Rijksmuseum have been uploaded to Wikimedia Commons (...) 2,175 of these images are currently used in various Wikipedia articles. These images have been shown 10,322,754 times to users visiting the articles where the material is used.” GLAM Open Access Case Studies, internal report to The Smithsonian Board of Directors, Effie Kapsalis, June 2015
  • 34. SMK’s first digital strategy, 2009 We want to be a catalyst for users’ creativity
  • 35.
  • 37. 39,968 is better than 2,000 (by 1,898 %) http://collection.smk.dk/
  • 38. A lot of these images carry the CC0 mark
  • 40. 25,000 images for free download This tells people they have the right to use the images
  • 42. What does it mean?
  • 43. Copyright is “a little coral reef of private right jutting up from the ocean of Public Domain.” Paul Torremans, Copyright law: a handbook of contemporary research, 2007 Adam Olearius, "Oftt begehrte Beschreibung Der Newen Orienthalischen Reise [...]", Schleswig 1647, KKSgb10873/28, SMK. Public Domain
  • 44. Works that are in the Public Domain in analogue form continue to be in the Public Domain once they have been digitised. http://pro.europeana.eu/files/Europeana_Professional/Publications/Public%20Domain%20Charter%20-%20EN.pdf
  • 45. Waiving photographic rights The rights to photographic images of artworks in the SMK collections belong to the museum
  • 46. Waiving photographic rights The rights to photographic images of artworks in the SMK collections belong to the museum The photographers’ names and affiliation with SMK are stated in the image metadata as documentation
  • 47. Waiving photographic rights The rights to photographic images of artworks in the SMK collections belong to the museum The photographers’ names and affiliation with SMK are stated in the image metadata as documentation SMK does not demand attribution, but we encourage users to attribute in our public domain policy
  • 50. People will go elsewhere to get images
  • 51. But wait… aren’t we making money on images?
  • 52. "Everyone (…) wants to recoup costs but almost none claimed to actually achieve or expected to achieve this. Even those services that claimed to recoup full costs generally did not account fully for salary costs or overhead expenses.” Reproduction charging models & rights policy for digital images in American art museums, 2004 http://www.kdcs.kcl.ac.uk/fileadmin/documents/USMuseum_SimonTanner.pdf Simon Tanner, King’s College London
  • 53. Pioneer experiences The Getty realized that the revenue they were collecting (about $45K in the financial year of 2013) to license use of their images was outpaced by the expense of doing so.
  • 54. Pioneer experiences The Getty realized that the revenue they were collecting (about $45K in the financial year of 2013) to license use of their images was outpaced by the expense of doing so. Yale Center for British Art images were never ‘a money-maker’.
  • 55. Pioneer experiences The Getty realized that the revenue they were collecting (about $45K in the financial year of 2013) to license use of their images was outpaced by the expense of doing so. Yale Center for British Art images were never ‘a money-maker’. We lost all of our income on direct sales of images, but we gained a lot of new friends, sponsors, and new funding streams (more than we lost from revenue). GLAM Open Access Case Studies, internal report to The Smithsonian Board of Directors, Effie Kapsalis, 2015
  • 56. Phasing out image sales We are not here to sell cultural heritage
  • 57. Phasing out image sales We are not here to sell cultural heritage We are here to preserve and provide access to cultural heritage
  • 58. Phasing out image sales We are not here to sell cultural heritage We are here to preserve and provide access to cultural heritage We are here to support value creation in society* * Inspired by Jacob Wang, National Museum of Denmark http://www.slideshare.net/jacobwang/collections-online-national-museum-of-denmark-official-launch-october-8th-2014
  • 59. But what about loss of control and fear of misuse?
  • 60. Pioneer experiences What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves.
  • 61. Pioneer experiences What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves. Wikipedia editors prefer to use trusted material provided by the cultural institutions themselves to illustrate the articles they are editing. This greatly benefits both the users who have a richer experience, and the cultural institution that reaches out to a public far beyond the scope of its own website
  • 62. Pioneer experiences What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves. Wikipedia editors prefer to use trusted material provided by the cultural institutions themselves to illustrate the articles they are editing. This greatly benefits both the users who have a richer experience, and the cultural institution that reaches out to a public far beyond the scope of its own website. We have lost almost all control, and it has been vital to our success. Images of Works of Art in Museum Collections: The Experience of Open Access. A Study of Eleven Museums. Prepared for the Andrew W. Mellon Foundation by Kristin Kelly, April 2013 Democratising the Rijksmuseum. Why did the Rijksmuseum make available their highest quality material without restrictions, and what are the results? Joris Pekel, Europeana Foundation, July 2014
  • 63. Staff of virtually every museum mentioned the goodwill and recognition that have come with open access, as well as a sense of satisfaction at helping to fulfill the mission of the institution. (…) every museum reported increased website traffic and what they considered a significant interest in the available images. Website visit increases ranged from about 20 to 250 percent, with many museums reporting increases of at least 100 percent. Pioneer experiences Images of Works of Art in Museum Collections: The Experience of Open Access. A Study of Eleven Museums. Prepared for the Andrew W. Mellon Foundation by Kristin Kelly, April 2013
  • 64. Why open collections? They can reach and be relevant to more people
  • 65. Why open collections? They can reach and be relevant to more people They can increase learning and creativity
  • 66. Why open collections? They can reach and be relevant to more people They can increase learning and creativity It is the essence of copyright law
  • 67. Why open collections? They can reach and be relevant to more people They can increase learning and creativity It is the essence of copyright law Selling images is often a poor business model
  • 68. Carl Bloch, Samson and the Philistines, 1863, SMK. Public domain Re-use can be a struggle! Difficult to search and find images Images are not fit for purpose Unclear copyright status People don’t know they are allowed to re-use museum images Learning curve for digital re-use possibilities
  • 69. Nicolai Abildgaard, Caricature of a fat man carrying a large key in his left hand, undated drawing, KKSgb3753, SMK, Public Domain Facilitation is key
  • 70. Three target groups that are important to us 1. Learners in public schools 2. Creatives 3. Wikipedians
  • 71. Facilitating re-use by learners Together with educators from public schools, SMK has co-created, Didactic designs integrating open images from SMK in specific learning processes aligned with national curricula 3 Skoletube channels – images, tutorials, student productions Tested in 20 public schools prior to launch September 2015
  • 74. CCBY 4.0 ULK The art pilots www.ulk.dk
  • 75. The art pilots is a community of curious youngsters between 15-25 who are passionate about art. CCBY 4.0 ULK
  • 76. The art pilots is a community of curious youngsters between 15-25 who are passionate about art. Within the framework of SMK, we share thoughts and ideas, and create and run artistic projects together. CCBY 4.0 ULK
  • 77. The art pilots is a community of curious youngsters between 15-25 who are passionate about art. Within the framework of SMK, we share thoughts and ideas, and create and run artistic projects together. It is our ambition to make art a bigger part of young people’s everyday life. CCBY 4.0 ULK
  • 78. New teams every year CCBY 4.0 ULK
  • 79. CCBY 4.0 ULK Meetups at SMK every Wednesday
  • 80. CCBY 4.0 ULK Facilitated by a project manager and an artist
  • 81. CCBY 3.0 Frida Gregersen Collaboration between the Copenhagen Metro Company, local citizens, and the art pilots Cool Constructions
  • 82. CCBY 3.0 Frida Gregersen
  • 83. CCBY 3.0 Frida Gregersen Collections gain new value outside the museum in the hands of the public
  • 84. CCBY 3.0 Frida Gregersen
  • 85. CCBY 3.0 Frida Gregersen
  • 86. Decoration of the injection room Skyen / ‘The Cloud’ CCBY 4.0 ULK
  • 87. A space for drug users, central Copenhagen Open 23 hours a day 700 drug intakes a day CCBY 4.0 ULK
  • 88.
  • 89. CCBY 4.0 ULK Re-creating places / spaces that the drug users dream of
  • 91. CCBY 4.0 ULK The art pilots facilitate improved social conditions for the users
  • 92. Remix exhibition 13 artists and designers were invited to mix up SMK’s collections
  • 94. CC BY-SA 4.0 Ida Tietgen Høyrup A celebration of open collections Remix exhibition Culture Cam installation VanGoYourself workshop Wiki edit-a-thon Animated GIF workshop Performances Film screenings Artist talks Art DJ’s
  • 95. The artists got to change our museum for a weekend CC BY-SA 4.0 Merete Sanderhoff
  • 96. Filip Vest, 22 Skies CC BY-SA 4.0 Ida Tietgen Høyrup
  • 97. CC BY-SA 4.0 Ida Tietgen Høyrup Their remixes ranged from lasercut installations…
  • 98. CC BY-SA 4.0 Ida Tietgen Høyrup …over tapestries, fashion clothes, collages…
  • 99. Harald Slott-Møller, Danish landscape, 1891 Product of Public Domain
  • 100.
  • 101. CC BY-SA 4.0 Ida Tietgen Høyrup Jamie Seaboch, Collage
  • 102. CC BY-SA 4.0 Ida Tietgen Høyrup …to a pop-up version of a painting with motorized moving light
  • 103. CC BY-SA 4.0 Ida Tietgen Høyrup Kati Hyyppä, As light goes by
  • 104. CC BY-SA 4.0 Ida Tietgen Høyrup Artists talks - communicating the remixes
  • 105. CC BY-SA 4.0 Ida Tietgen Høyrup Huge interest from the audience
  • 106. CC BY-SA 4.0 Ida Tietgen Høyrup A unique meeting between new and old
  • 107. CC BY-SA 4.0 Ida Tietgen Høyrup More than 6,000 people joined the party
  • 108. CC BY-SA 4.0 Ida Tietgen Høyrup Facilitating re-use by Wikipedians
  • 109. * In collaboration with The Hirschsprung Collection CC BY-SA 4.0 Ida Tietgen Høyrup Monthly Wiki Labs at SMK* - to learn about Wikipedia and how we can support their work
  • 110. Effective way to open collections
  • 111. 20 million page views on Wikipedia in 2015
  • 112. Wikipedians are facilitators for museums too https://commons.wikimedia.org/wiki/Commons:GLAMwiki_Toolset_Project
  • 113.
  • 114. Work in progress At SMK, we still need to Speed up digitisation Put more high quality images online Build sustainable infrastructure to make life easier for users and staff Prioritise facilitation of re-use as a core task
  • 115. Great potentials in further opening up your collections
  • 116. 37,000 artworks 70 % are in the public domain 70 % is digitised Photo © Google
  • 119. You have a dedicated facilitator
  • 120. and a world of potential users
  • 121. ”Our role is still more to facilitate public use of cultural heritage for learning, creativity, and innovation. Today, learning happens in reciprocity. We are all a part of the web. We shape each other.” Mikkel Bogh Director, SMK http://bit.ly/1dMX0BJ
  • 122. Read more about the potentials and deliberations of opening up
  • 124. CC BY-SA 4.0 Ida Tietgen Høyrup Merete Sanderhoff Curator / Senior Advisor Statens Museum for Kunst @MSanderhoff Communicating Digital Collections Finnish National Gallery Helsinki, 22 January 2016 slideshare.net/MereteSanderhoff

Editor's Notes

  1. A new way of approaching BILDUNG - not just learning, but also BUILDING
  2. This requires new ways of being / running museums. And one of the things I’ve learned is that this movement is only happening because of individuals who make a difference.
  3. This means that their high quality images are now all over the web, for instance on Wikipedia that links back to Rijksmuseum.
  4. My 7 minutes are up Read much more in Sharing is Caring!