Art for Everyone by Brian Jeffcock

“ To be shaken out of the ruts of ordinary perception, to be shown for a few timeless hours the outer & inner world, not as they appear to an animal obsessed with survival or to a human being obsessed with words and notions, but as they are apprehended, directly and unconditionally, by Mind at Large — this is an experience of inestimable value to everyone.” Aldous Huxley, The Doors of Perception

cmds 3153 perspectives in graphic communication

Art for Everyone

Re-interpreting the art gallery experience

Katrina Bautista Hannah Brown Brock Hofer Brian Jeffcock Hana Seo Gabrielle White fall 2010

iii

abstract

This study was prompted by the concern for the declining attendance at art galleries throughout Canada and North America. Using the profile of the Art Gallery of Nova Scotia as our example. Interviews were conducted with individuals within Atlantic Canada regarding their experiences and opinions about the AGNS. Based on these interviews four different user personas were created of archetypical Atlantic Canadians. Using these profiles as well as a variety of academic research we decided to use the theories behind meaning making and experiential design this document proposes different levels of solutions depending of financial availability and manpower. By proposing solutions where gallery patrons will create their own positive experiences the encourages people to engage with the artwork. By creating a changing community based exhibition space a connection will be made with people throughout Atlantic Canada.

keywords

accessibility, AGNS, art gallery, Art Gallery of Nova Scotia, co-curation, collection, community, contemporary, cultural shift, designing for experience, experiential environments, interaction, inter-generational space, interpretation, meaningmaking, preservation, public involvement, re-interpretation, user-generated content

table of contents vi

i iii v

epigram title page abstract & keywords

introduction

significance of study

review of related literature The Art Museum Now

research methodologies Theory in Practice

case study site The Art Gallery of Nova Scotia

persona profiles Whose Muse?

concept proposals Experience and Meaning Making

conclusion Future Directions

annotated bibliography

appendix

colophon

introduction

Contemporary society traditionally pictures the museum as an institution: both physically in its stately architecture and in its magisterial function to collect, preserve, and curate works of art that have sociocultural significance and historic value.

Art museums, the focus of our groupâ&#x20AC;&#x2122;s research and revisualization, bear the weighty responsibility and criticism from the community to whom they contribute this knowledge, experience, and value. Today, art galleries must exist amidst a varied number of other institutions at work within the urban landscape but also continue to serve as a valuable historical and visual resource to their communities. Tackling this topic as a group (Katrina Bautista, Hannah Brown, Brock Hofer, Brian Jeffcock, Hana Seo, and Gabrielle White), our research explores the issues and challenges surrounding the current Art Museum climate, particularly for museum visitors in the age 18â&#x20AC;&#x201C;35 range, and considers the Art Gallery of Nova Scotia, in Halifax, as a specific case study. In order to develop a greater understanding about what sorts of changes need to occur in 21st century Art Museums for them to stay relevant cultural institutions, the group began by brainstorming personal experiences in Art Museums to make hypotheses about challenges galleries might be facing. Following initial hypotheses and inquiries, the group began theoretical research. This body of academic foundations consisted of examining journals, books, news articles, and surveys regarding a broad range of Art Museum topics. This led to

introduction

classifying issues into three main categories which became the basis for our primary research: generational differences and cultural shifts, economic sustainability for individual galleries, and interpretive groups that make up gallery attendance. In terms of generational difference, theoretical research suggested the importance of creating dynamic spaces that appeal to diverse audiences and include public involvement and participation in the art. Even though Art Museums are taking steps in this direction, museums still have not changed their practices to be inclusive of people in a variety of economic ranges (McCarthy, et al). Modernist views of the museum include a high entertainment approach that fits in more with today’s culture of entertainment, but many museums are still following a practice of low interaction, and a quiet contemplation or “bathing” effect (McIntyre 155-170).

In a culture in the midst of an economic recession, it is essential to consider how individual museums are being supported financially. The success of museums are typically measured in number of museum attendees, members, and number of high profile exhibitions annually, rather than value of certain works or experiences of audiences, because attendance numbers lend themselves to better indicate a museum’s public service (McCarthy, et al). Generally, the current global economic situation has not severely affected Art Museums, several museums in the United States saw their best attendance in 2008, because they continued to show such exceptional art exhibtions, people were willing to pay the admission fees (Goldstein). A willingness to pay money for art leads to the third area of theoretical research: interpretive groups. Interpretive groups of visitors were placed into two categories, experienced in art education and inexperienced in art education. Inexperienced visitors often felt a museum fatigue and only responded to things

that were grandly displayed (McClellan). While many galleries gain their reputation through the display of high art that only experienced visitors can fully appreciate, other galleries are showing extravagant, pop-culturally themed, and entertaining exhibitions. While these “blockbuster exhibitions” generate controversy for their sometimes gimmicky installations, they can also generate more gallery funding and interest in fine art from new visitors (Reid). Overall, this project takes responsibility for pinpointing core issues and seeing them as opportunities. After completing the theoretical research component, it was clear that a gallery redesign had to contain a wide variety of exhibition types and address the cultural habits and shifts that occurred over the last two centuries, rather than adhering to traditional rules about what an Art Museum must be. It is important for the art gallery to touch visitors with a variety of both interactive and contemplative action zones in order to attract, understand, and engage with a dynamic, diverse, and regularly returning viewership.

Ultimately, our research into existing methodologies and consequent development of new discourse in designing the art gallery experience aims to seek new ways to inspire that engagement in the form of an openhearted and outwardreaching inquisitiveness (the same spirit of inspiration that art itself gives) once the visitor leaves the “white cube”.

Whether or not the average visitor considers Art as directly affecting their life, we must seek to inspire that relentless process of lifelong learning. It is only with these well-fed roots that we may nourish visitors’ deeply felt direct experience as vital to life, as natural and necessary as breathing.

Though considered by curators and museum practitioners as a slow-moving, heavily respected, and time-honoured process, redesigning the gallery experience for young adults can be a progressive paradigm in experience design as well as exhibition design. New methods are clear targets for criticism and often met with reluctance, as they redefine and redesign the relationship between Art, curator, gallery, and visitor. This reinterpretation and new museology present unique opportunities to enhance the learnersâ&#x20AC;&#x2122; (visitors) interaction with art and intensifies the lasting effects of the visit.

why art museums? 06

Increasingly frequent cuts to the funding and attention paid to arts programs in public schools, colleges, and community learning venues have begun to create a particular void in the lives of Canadians, which can be felt in ripples great and small in their perceptions of Art, leisure time, and learning. The research of gallery experience for young adults can be a progressive paradigm in experience design as well as exhibition design, which enhances the learnersâ&#x20AC;&#x2122; (visitors) interaction with art.

The impact of better appreciated gallery significance visits contributes to the culture of their of study community and galleries' sustainability as well. This is but a small contribution with the study of meaning making: not only art can be viewed as closely relevant to daily lives, but acquisition of learning skills and knowledge for gainful transformation and full participation that may help our society in motion. The projectâ&#x20AC;&#x2122;s goal is designed to help galleries broaden the range of visitors by refreshing perspectives within young adults and families, improve experiential design, develop community-interactive events as well as artist-engaging programs, implement a marketing plan and participate in innovative space design in preparation for the upcoming generation to provide the mix of space types and their desired experience. This goal can be achieved through the galleries and curators that acknowledge their own specific challenges and issues with attracting young adults then consider the suggestions selectively for their solution. The output of this study is a research material that big and small art galleries as well as artists can consider, learn, and assimilate accordingly.

the art museum now

Collections of visual art have accompanied human history since the beginnings of human creativity; around its spirit and practices grew institutions, philosophies, and ideologies that still directly affect contemporary society as we know it today. Museums and Public Involvement

It is said that during the turmoils of WWII, Winston Churchill’s finance minister said Britain should cut arts funding to support the war effort. Churchill’s response: Then what are we fighting for?

In today’s art world, the dominant venue for arts appreciation is the public art museum. The museum began to assume this central role in the 19th century. Prior to that time, art appreciation and art patronage were often tightly linked. During wartime, art museums were viewed as places of sanctuary and hope. After World War II, art museums became one of the high points of education and culture. Museums used to keep reproductions and plaster casts of great works in order to present them educationally to their audiences, until a growing concept of the value of authenticity — the hype of the “Real Thing”— in the display and collection of artwork made institutions like The Metropolitan Museum of Art in New York and the Museum of Fine Arts in Boston do away with the reproductions that they had previously collected assiduously in favor of

original works. This concern for aesthetic purity created a hierarchy of value within the fine arts, based on the evaluation of objects in terms of both their utility and their uniqueness. Increasing education levels and expanded leisure time further stimulated a wider public appreciation for art. As a result, the art museum became an indispensable civic institution. Often designed by famous architects, they have become a strategic weapon for urban development and the revitalization of blighted downtowns. One of the best example of this is Frank Gehry’s Guggenheim Museum Bilbao in 1997, which turned the faded industrial center into a cultural destination. The number of visitors exceeded 1.3 million, instead of the 450,000 projected for the first year, which generated $219 million in local revenue. Hotels, boutiques, and restaurants all opened nearby and a general cultural gentrification changed the attitudes and

lifestyles of the city’s residents (McClellan, 2008) towards new urban possibilities. Easily accessible and frequented by relatively diverse audiences, the concept of the museum for some has evolved into a “public square” (McCarthy et. al 2005): a fulcrum of civic life alongside places of worship and shopping malls. During the late 1970s and early 1980s, a series of developments led museums to pursue broader public involvement and a more active role in society. Neil Harris (1999) cites three specific developments as driving this change: First, rising costs and the declining real value of endowments drove museums to dramatically expand their efforts to cultivate public support (in terms of admissions and donations); second, public protests about the limited scope of museums’ audiences and the nature of the art that they collected and exhibited provided an ideological imperative for museums to concern themselves with social equity; and, finally, the development

The Guggenheim Bilbao, designed by Frank Gehry, has been both lauded and critiqued for its approach to the museum role.

cultural shifts

of ideas and approaches in the international museum community provided a theoretical underpinning and an example for changing the way American museums operate. As a result, art museums today pursue a wide array of programs to expand and diversify their audiences, have adopted a more pluralistic approach to the art they collect and exhibit, and have undertaken a variety of efforts to become more involved in their communities. They have, in the words of Stephen Weil, transformed themselves, moving “from

being about something to being for somebody.” (Weil, 2002) Demand for the Visual Arts

Two principal forms constitute the majority of demand in the visual arts: appreciation and collecting. The popularity of both of these forms of demand has increased significantly in recent years, and is often seen as a sign of great success in the field. However, a closer look at the statistics underlying these trends suggests differently. The growth in museum attendance, for example, appears to be largely due to population growth and rising education levels, not to higher levels of attendance by people at specific education levels. For our research project, population growth means that new families currently are (or will be in future) entering the community where the gallery lives, and it is 10

their interest that we should aim to capture. Even though museums have increased their efforts to attract more diverse audiences, the socioeconomic status of the visitors has not really changed. Underlying societal trends—the new ways people spend their free time, the financial squeeze of rising costs, and more intense competition from the entertainment and leisure industries — are the new obstacles to growth.

Cultural shifts in leisure time These shifts favour a certain type of experience, which increases the importance of ancillary services, such as shopping and dining, as well as an element of excitement at museums. A growing preference for home-centered leisure activities works against expanding attendance. In addition, the visual and other arts face increasing competition from a variety of other entertainment and recreation options like theme parks, movies, restaurants, as well as just staying home (using the internet, TV, etcetera). This is not a one-sided static imbalance, however. It is constantly in flux. All timely conditions affect museum visitorship and attendance should always be contextualized within the socioeconomic framework of the age. For example, Art Galleries in the United States saw a steady rise of visitors during the recession (Goldenstein 2009). Both free and paid

admission galleries saw increases in visitors and galleries showcasing contemporary work had the highest increase. The MoMA (ticket price $20) had the best year in its 80 year history in 2008 when they had 2.8 million visitors, which was 1.8 million over its previous record. The Museum of Contemporary Art Chicago saw a record number of visitors as well. Former Director Madeleine Grynsztejn stated that the relatively low cost of a museum ticket as well as an increase in “staycations” are the reasons for the increase in visitors. The National Gallery of Art, in Washington, DC also experienced similar increases in visitorship and attendance (Goldenstein 2009).

form of public involvement with the visual arts. 43 percent of American

Participation in the Visual Arts

How education affects appreciation of Art

Public involvement in the arts can take several different forms. Individuals may be involved as producers (artists at a professional or amateur level), as consumers (by visiting a museum, watching a TV program on the arts, or purchasing and collecting artworks), and as supporters (by donating time or money to art organizations). Individuals can be, and usually are, a combination of these 3 different types. Many more people are involved in appreciating and viewing art, rather than collecting or buying it. Attending museums, art fairs, and galleries is the most typical

Historically, education has proven to be the single best predictor of participation in the fine arts, but studies have demonstrated that a variety of other attributes are also correlated with arts involvement, including income, race, age, and family characteristics. The literature on arts participation indicates that early arts exposure, especially arts education, plays a significant role in later participation behaviour, regardless of the number of years of completed schooling. It is not entirely clear what drives this education effect. More highly educated individuals are more likely than others to have been

adults attended visual arts events at least once in 2002, the

last year for which data are available. Nearly one-third more Americans attended a visual arts event than a cultural performance. The fraction of Americans who attended a visual arts event is also substantially higher than those who watched at least one television program about the visual arts (25%), the next most frequent visual arts activity. Americans are also three to five times more likely to engage in both of these forms of appreciation, however, than they are to become involved in a “hands-on” way (e.g. painting, sculpting, drawing).

visitorship and education

[1] Winston, Andrew S., and Gerald C. Cupchink, “The Evaluation of High

exposed to the arts by family members during their childhood and to have taken the arts during their schooling. This early exposure to the arts is important because familiarity and knowledge of the arts are directly related to participation rates, as they are for most other forms of leisure activity. A study conducted by Orend and Keegan (1996) find that arts appreciation classes taken during college have an even stronger effect on subsequent participation than those taken earlier in the student’s academic life. Another study by Winston and Cupchink (1992) 1 found that even a few hours of college-level art classes gave a more enriched experience to inexperienced viewers. These results later led to direct the research group’s initiative that young adults, new families, and post-graduates are a key demographic to explore in their archetype narratives and concept-building.

Art and Popular Art by Naïve and Experienced

Levels of experience, levels of “Taste”

Viewers,” Visual Arts Research, Vol. 18, 1992, pp. 1–14.

[2] Bourdieu, Pierre, Distinction: A Social Critique of the Judgment of Taste, translated by Richard Nico, Cambridge, Mass.: Harvard University Press, 1984.

Winston and Cupchink (1992) find that the tastes of inexperienced and experienced viewers differ notably. Experienced viewers value the complexity of art objects, believe that visual art should provide a challenge to viewers rather than providing “warm feelings,” and prefer “high art.” Inexperienced viewers value the emotional response they get from looking at art (“warm feelings”), and they

prefer sentimental and wildlife paintings. Interestingly, Winston and Cupchink found that after just a few hours of college-level arts appreciation classes, inexperienced viewers’ tastes tended to transform into those resembling experienced viewers.

A second study by Pierre Bourdieu (1984)2 compared the extent to which viewers’ focus on the literal versus the abstract aspects of art. Bourdieu found that viewers with a familiarity with arts appreciation from an early age, tend to focus on the abstract or aesthetic quality of the art while those who lack this background are much more likely to focus on the literal. Thus, for example, when presented with a black and white photo of an old woman’s thickly veined hands, respondents who lack a background in the visual arts are much more likely to relate the picture

to their prior experience, for example:

size, types of collections, and programming. Because the distribution of resources across museums is getting more and more spread Those with a more extensive background thinly, how museums will respond to these in the visual arts are more likely to describe tensions is complicated to figure out. the picture in terms of its aesthetic qualities As the pressures for accountability (“It’s a study in form, light, and increase, museums, like other nonprofits, shadow”). are increasingly being called upon to Relating this to the topic of our study, evaluate and measure their performance it further strengthens the idea that art vis-à-vis their goals and missions. museums potentially have a very strong Currently, the most common yardsticks role in filling in the gaps created by cutting by which museum performance is arts programs from the public education measured are attendance, membership, system. They can become venues which and the number and marketability of major enrich the visitor’s sense of worth and help shows. These metrics lend themselves for them become more cognitive individuals. use because they are easier to measure than other possible indicators of success How do Museums measure success? (i.e., quality of the art objects, quality of visitors’ experiences, and impact on the Museums have historically been forced community), but also because they can be to confront difficult choices about allocating used to demonstrate public accessibility, scarce resources among their multiple popularity, and service to the public. missions. Symptomatic of these crossLarger (and richer) museums have pressures has been controversy within the more options for how to respond to these visual arts community between those who challenges. Smaller and midsize museums value art objects and stress the museum’s like the AGNS need to have a clear picture art-oriented missions (preservation, of themselves, their audience, and what they presentation, and scholarship) and those in particular have to offer as competitive who stress the marketing-oriented missions advantages. It may be a good direction (those aspects that emphasize audiences, to increase focus on a combination of community involvement, and doing what is specialized art and increasing involvement necessary to respond to financial pressures). with their communities, since their smaller One of the reasons museums have size can allow for a greater agency and succeeded is their tremendous diversity in social mobility in these areas.

”...It reminds me of my grandmother’s hands.”

meters of contemporary success

Further discussion and insight into museum discourse and research can be found via the annotated bibliography on page XX.

theory in practice

Design for the user experience requires empathy, an acute sense of the broad spectrum of human emotions, needs, and motivations to truly reach fruition. Blending academic research with interviews of their target user and techniques in persona creation allows designers to have a focused knowledge that contextualizes their concepts as applied within a case study site.

research methods 14

right, but are corrected and continuously reframed as we learn from experience. In The Inmates Are Running the Asylum, published in 1998, Alan Cooper introduced the use of personas as a practical interaction design tool. Personas invoke this powerful human capability for empathy, and bring it to the design process. Personas are archetypes that represent the needs of larger groups of users, in terms of their goals and personal characteristics. They act as ‘standins’ for real users and guide decisions about design by identifying the user motivations, expectations and goals responsible for driving particular consumption behaviour.

A realistic basis gives realistic results theory in practice

From the outset of this research project, the gallery re-interpretation team had foreseen that a large amount of their reinterpretation of gallery discourse would be on a conceptual or hypothetical level. This posed a dilemma in terms of being able to measure and grade the potentialities of these proposals, in a way that would lend their project realism and gravitas. How would it be possible to test and build up scenarios which at an initial level would be held back by costs and lack of testing resources? With a limited amount of time, how could the research team build up a strong foundation of elements which would be in-tune with the target user’s experience? The research group believes that the best way to uncover opportunities and engage the imagination of an audience is to focus on what excites, delights, and motivates the

user. The group decided to apply a design strategy known as the Persona system in order to address this dilemma and improve the quality of their design strategies.

Empathy and the Persona System In the last century, psychologists have been exploring our ability to predict another person’s behaviour by understanding their mental state. ‘Theory of Mind’ (Premack and Woodruff, 2978) first asked whether primates share this ability and then explored its development in children. Every day of our lives, starting very young, humans use partial knowledge to draw inferences, make predictions and expectations about the people around us, anticipating their reactions to situations or behaviours. These inferences are not always

Although personas are fictitious, they are based on knowledge of real users. Some form of user research is must be responsibly conducted before Personas are written to ensure they represent end users rather than the opinion of the researcher. In the case of this research project, each team member conducted interviews with members of the target age group: young families, professionals between the ages of 20 to 30, and new graduates. These interviews, although limited in number, offered a depth of narrative which was used to build a personality for target users. Four persona archtypes were created for this case study that touch on particular gallerygoers: [1] a single user, with no art experience; [2] a young family man; [3] a highly active art-experienced user; and [4] a lapsed user who has lost interest in galleries.

But why should users’ personality even be important? According to Cooper (1999), it is this specificity which is a solution to a common problem in the design process.

specific personality as a defining asset

Concepts as “user”, “designed for the user” and “user-friendly” are too vague and therefore not practical to use as design models or definitions for the communication in the development team. A blurred

concept of “the user” causes a bloated, skewed tendency to design (Blomkvist). The result is often a bad compromise burdened with usability problems. Cooper (1999, p.126) labels this phenomena as “the elastic user”. Cooper recommends to never refer to “the user” in design. Instead, one should use a very specific individual – a persona, with a particular look, attitude, personality and name – and direct the design for this individual. According to Cooper (1999, p.128): “The more specific the

persona is, the more effective they are as design tools. With more specific, idiosyncratic details, the persona becomes a “real” person in the minds of the developers.” Well-crafted Personas are generative: these can then be effectively projected into new situations and explain them more clearly and logically than any impersonal hypothesis would, to the researchers as well as the galleries themselves to whom these solutions are proposed. Narrative and meaning-making is encouraged even here, in the research methodology. 17

case study 18

the art gallery of nova scotia 19

the local art museum in profile

The Art Gallery of Nova Scotia (AGNS) is the largest art museum in Atlantic Canada and the principal art museum of its province. It is responsible for maintaining the Crown’s art collection and for ensuring access by the people to this resource. The AGNS Mission: “To bring art and people together. This will be achieved by providing leadership in the development and preservation of quality collections, in the creation and display of quality exhibitions, and in the provision of engaging education and public programs.” (direct quote from the 2011 Crown /AGNS Business plan)

The AGNS is “committed to building audiences for art” and have a published their three-part strategy in their 2011 business plan. The first is the continued growth of the annual Sobey Art Award Exhibitions, Canada’s premiere prize for contemporary art, which has been administered by the AGNS since its inception in 2002. The second is focusing on enriching the permanent collection with exhibitions that highlight the depth of the Crown’s collection. The third part is to actively seek partnerships to broaden the reach of their contemporary art exhibitions and tour them within the province and throughout Canada, so they can reach as many audiences as possible.

Financial Profile The Gallery is partially supported through government funding from the Nova Scotia Department of Tourism, Culture, and Recreation (Provinicial); The Department of Candian Heritage (Federal); 20

The Canada Council for the Arts (Federal); and the municipal governments in Nova Scotia. Although these government groups provide substantial funding to the gallery, 55% of all the gallery’s money comes from individual, corporate, and foundation donations from the private sector. There were 2000 single donations for the year, totalling $235,800.50. Notably, 92% of these were personal donations under $150. The Annual Report for 2009-2010 noted that after a year of deficit, the gallery is operating back at budget. Visitation A total of 43,170 patrons visited the gallery from 2009-2010. The next highest months for visitation was September and November, with 3569, and 3599 respectively. The lowest number of visitors was in Number of participants in a single night because of the Nocturne arts festival, January with just over 2000.

5000

bringing October’s visitorship up to 8.998.

The two wings of the AGNS which are centrally located between Barrington street and the Halifax waterfront.

Tours and Docents Over the past fiscal year the AGNS acquired 385 new works, 13 of which were purchased for a total of $13,800.00. The rest were donated to the gallery. It is estimated the 2009-2010 aquisitions are worth roughtly 2.5 million. The Art Sales and Rental Society was highly successful and able to give money back to the gallery. Clients were from Canada, the US, and Europe. The Art Gallery Shop is suffering during the economic downturn, but are working on a to improve the sales.

3,429 school children visited the gallery, 192 preschool aged children, and 240 from the IWK. Twenty-five docents served as leaders during school tours. 1, 101 people took part in daily tours from one of the 9 volunteer guides (4 of which are NSCAD students).

Membership E-memberships (non-paper) gained popularity due to their lower cost. In 2010 there were 1,426 memberships total with a 66% renewal rate returning yearly. 21

Floorplans ©AGNS, Harvey & MacKenzie Ltd. Architects

After reviewing the the current state of the AGNS, its history, finances, patrons and potential patrons, the research team identified a number of key issues that are preventing the gallery from reaching more people in Atlantic Canada. The AGNS is a midsize museum in a prime location in Halifax’s downtown area. Halifax’s Central Business District has lately been suffering from a decrease in interest, liveliness, and cultural relevance in comparison to the growth being experienced in the Halifax North End (Hydrostone market, Agricola and Windsor street areas), for instance. Like many major museums in Canada the AGNS follows a traditional british ‘art museum’ structure. There is a large permanent collection and a space for changing exhibitions. One problem is that this traditional method of displaying art is not attracting new young patrons who are tired of the AGNS’ focus on the traditional historical art and the often conservative changing exhibits. People at the Gallery are encouraged to look at the art, but there is no real emphasis placed on engaging with it, or creating experiences that drive curiosity,

prolonged self-reflection, or any sort of meaning making. Furthermore the AGNS does not have a significant advertising presence throughout Halifax and the rest of Atlantic Canada. People are largely unaware of events taking place at the Gallery and the potentially interesting exhibitions that are on display. Even the building itself does not have a significant presence within the city. Although it is located centrally in downtown Halifax, many people are unaware it is in their midst as it shares a building with the original Bank of Nova Scotia. The signage and awning are uninspiring and dated which does not serve to attract many people to the building. Once inside, there is no efficient wayfinding system and the layout of the building is extremely confusing. With better planning to increase its presence in the city, the AGNS can really stand to affect both the urbanscape and the community of people who live in downtown Halifax. New organization of the interiors is needed for the museum to grow this initiative to cause a positive cultural shift. These issues outline the scope of the next part of our conceptual consultancy.

whose muse? 24

persona profiles patterned after real users 25

(born in 1975) is an apple orchardist in Annapolis Valley who has spent most of his 20s traveling. He used to live in the city of Yale, New Haven CT where he met his wife. He loves being a husband and a dad of a two-year-old daughter. Ryan is into sociology, architecture, graphic arts, hockey and chess. He is often either contemplating how to better engage with the local community or thinking of better strategies for problem solving in different dynamics of games or relationships. Outside the orchard, he owns Farm House Bed & Breakfast, which made him and his wife well known in the community for their passion regarding creating a good home for various visitors. According to Ryan the everyday life can be a form of art, which is why he appreciates art exhibitions that naturally create interactions with other visitors who are present. It is important to him that such public events or locations show their consideration for the community and its involvement.

(born in 1986) is a university graduate, working at Maritime Shipping as an account manager; she deals a lot with the numbers and logistics. Though she does not think of herself artistic and the work leaves not much room for her to be creative, she w likes expressing her creative side by doing small DIY projects and decorating her office cubicle. It is like how she enjoyed an Art History elective during her Management study at college regardless her focus, just because it permitted her to take refreshing break from daily grind of marketing papers and stock charts. At Christmas, Cassidy receives gifts like nature-photography calendar and gift card to Michaels from her colleagues and friends. At home she displays pictures of her favorite things (store bought black and white photos of flowers) on the wall, and some postcard collection from her travels on her fridge. She is sociable and likes to have a good time, but have not been fortunate to have artistic friends who would be interested in a casual afternoon at an art museum as her. She passes by AGNS on her way to work and home, but thinking that galleries and museums are places you go with someone, she wonders if gallery staff would find it weird if she would visit them on her own.

(born in 1977) is a 33 year old single woman, living in a modest apartment that is conveniently located within the Halifax’s downtown city district. She enjoys the bustling city life and its ever changing nature. She owns a small business as a local florist, located near the waterfront. Her floral arrangement skills have proven to be of interest to certain commercial painters within the city who enjoy her elaborate and elegant style. Ethel often gets asked to arrange flowers for these painters. These works are occasionally shown in smaller galleries around town, prompting Ethel to frequent these local venues. She enjoys being in the presence of art and feels that it relaxes her, even if she goes with friends or alone. Seeing the floral paintings on the walls lets her imagine that she is in a familiar place, unconcerned with the others around her. Being of a creative mind, in no small part due to her job, Ethel has integrated herself within the local art community. She is a charismatic patron of the Art Gallery of Nova Scotia and also a part-time staff member. This grants her access to all the gallery has to offer. Ethel has a fondness for contemporary art and enjoys her frequent trips to the gallery to see what is new and often brings along friends to expose them to the creative side of the city. 28

(born in 1983) is a network administrator for a Medical Insurance company. He likes to think of himself as the ‘cool-hip-dude’ at work. When he was studying Informatics at Dalhousie he used to give the Dalhousie Gallery a visit to check out up-coming artists and new art pieces that would use things like neon lights or interactive machines. ‘Free admission’ made it easy for him to make frequent visits to the gallery, in case he would not ‘feel it’ and want to leave. Admission fees in general are a bit of commitment for Max (take cinema tickets for instance; he would want to make sure it is worthwhile before paying that amount of money) and with art it is harder to make a good judgment. After his graduation, Max has been to the AGNS few times but seeing those landscapes and pottery, he wondered how one could relate to these substances exhibited. He may not be an expert on art he knows his likes and dislikes; he appreciates art when he can connect with the artists, the humor or emotions. His daily routine doesn’t necessarily include checking on AGNS upcoming events, so he would just assume that it’s ‘the same ol’ same old’ there. After all, who cares about pictures of boats, some faces from the past and bison, right?

EXPERIENCE

MAKING MEANING

concept proposals

A cultural shift begins with a conceptual shift; The ideas and proposals discussed in this section, told through the stories and experiences of our archetype users, move the AGNS from its closed, institutional realm into new territories of meaning-making relationships with its valueable visitors.

Solution A Learn to Love Art The Learn to Love Art program is all about getting people who do not consider themselves to be educated in visual art into the gallery experiencing artwork. This program could be integrated in the gallery programming as a one-time dropin class, or as a four-week program where people register in advance and attend weekly sessions to get a deeper understanding of the art. These introductory “classes” are held once a week, and are led by an educated and lively guide. Every month the theme to the classes may switch out. For example, one month the theme may be Contemporary Art; a sample schedule may be something like this:

• Week 1: Guided tour and discussion through the Permanent Collection of contemporary art currently on exhibition in the gallery.

• Week 2: Film in the lecture theatre with refreshments and discussion afterward and during the film. (continued on next page)

• Week 3: Tour through the temporary exhibition space; Tour into the gallery vault

• Week 4: Lecture from a visiting artist and discussion about their practice. This type of hands-on learning is a sociable experience that would be very suitable for someone with a similar user profile as Ethel. Because Ethel already has experience in attending galleries, she needs a new perspective in to help expand her meaning-making in viewing exhibitions she saw already. Ethel is also a creative leader, and might be able to help persuade more of her friends who do not consider themselves artistic to visit the gallery. At the Cleveland Art Museum in Ohio, they offer themed tours such as “What’s old & What’s New?”, “Architecture in Art”, and “Women Within”, as well as making visits to the museum’s permanent collection free of charge. This is something the Art Gallery of Nova Scotia could try, even if the permanent collection was only free of charge once a week, it might get more people visiting the gallery, and aware of the temporary exhibitions and events. The National Gallery in Ottawa has a program galled “Music in the Gallery”, where they invite local professional musicians to come into the gallery and perform. Another tour they offer is called “Stimulate the Senses”, which is primarily for those who are visually impaired and relies on the senses other than sight, which might be interesting for our demographic.

Solution B Artist as Curator The artist-run exhibition has the opportunity to diversify the contents of the gallery and can create a more engaging and fresh experience for the visitor. Once a month for a week, a local artist can have the chance to display selections of their choosing from the vault of the Art Gallery of Nova Scotia. Depending on the artist, the chosen pieces will vary, allowing for a constant refreshment of exhibitions in between the permanent gallery shows and the occasionally borrowed collections. The non-profit SAW gallery in Ottawa is an artist run gallery that functions as an exhibition space for up and coming artists. It allows the artists to present their work the way they wish it to be presented, without the constraints of a more conventionally minded gallery. Having an artist decide and choose what to showcase in the gallery can greatly increase the presence of specific artist’s works and can be instrumental in creating vested interest in lesser known local artists - a sort of “artists for artists” arrangement. Along with the curating aspect, the artist also has the opportunity to take the visitors through their experience of each piece, perhaps even giving their unique 35

take on the artwork. It may become a sort of storytelling adventure for each piece. In conjunction with the selected artworks, the curating artist also has the opportunity to create a piece of art that responds to the others. These pieces can be a description of the artist in question, allowing the viewing audience a chance to better understand the choices with the selected works and how they relate back to the artist. Another option would be to create a response to a question that may arise when looking at the other artwork. The question can be posted alongside the other pieces or remain ambiguous until the responding piece is examined (the response being figurative or literal, depending on the artist’s preference). With an artist as acting curator for these selected works, a certain amount of expectation and responsibility must be placed upon them during this time. They should be properly prepared for the environment inside of AGNS and understand what their role is during the week or so that they are present. A proper description of the artist and their accomplishments would also be present for the viewing audience to see (perhaps provoking further interest in the artist if the show is successful). They would have an obligation to be present during the opening show and at set times during the following days. Frequent tours through the work would be expected so as to give the viewers context and to allow them the opportunity to ask questions about the artwork and the artist’s response piece. As AGNS is an well established venue, a certain level of quality and ability is to be expected. Qualifications and previous curating experiences will be considered. The idea of exhibiting without constraint and on the artist’s terms seems like it could really be an “artists for artists” event, using the opportunity to allow the curating artist to show off chosen works that speak a certain way to the visitors and that may draw in a particular audience that wouldn’t otherwise go into the gallery. It can also renew interest in older works by having them showcased alongside a more diverse selection, almost like staff movie picks at Blockbuster.

Solution C "Chosen Adventure!" Brochure Tour Gallery goers often keep the brochures and cards from museum displays as keepsakes of their visit. A specialized series of brochures can be used to regularly curate new “micro-experiences” for repeat and first-time visitors without having to transfer or reorganize the existing objects within the permanent holdings of the Art Gallery of Nova Scotia. This would give renewed insight into what is usually a very static and unchanging permanent collection of objects, sculptures, and paintings. A wide range of professionals from both art-related and non-artistic fields such as meteorologists, historians, religious scholars, or authors would be invited to select works from the permanent collection based on a range of unifying themes. The visitor would be introduced to these works by being guided with a map/brochure that tells unique facts about each highlighted work and where it can be found in the gallery, as well as a suggested path to take in order to see them all. For example, a meteorologist could select works from the collection, which depict different weather patterns and reflect how nature as well as society’s perception of natural climate changes over the decades. A journalist could contrast and compare depictions of events in paintings using journalistic 37

discourse (the language, headlines, and image styles of newspapers) and make a mini-newspaper for visitors. A local Nova Scotia author could write a fictional story where different parts would be illustrated or evoked by particular works in the museum, but used in the same order that the visitor would pass by them while going through the permanent part of the gallery (for example, in the short story of the brochure, the main character lives by the seashore. The brochure would direct the viewer’s attention to a painting of a view from a beach house, etc).

“One can travel the world and see nothing. To achieve understanding, it is not necessary to see many things, but to look hard at what you do see.” georgio morandi, artist (1890-1964) This approach uses suggestion, cartography, and narrative to encourage meaning making in the viewer by giving them new and surprising tools by which to examine and understand the exhibited artworks, and refresh their experience regularly. Ryan could tell stories to his daughter and wife with these brochures; Cassidy can take one home and keep the memory alive in a scrapbook. Ethel will always find new reasons to take a friend to the newest theme while Max might finally be encouraged to see the old art in a new light.

Solution D Community Art Café Community is very important to the people of Atlantic Canada. While the AGNS does feature some work that was done by local artist, including Maude Lewis, many of the people we interviewed don't feel any sense of connection with the works they see in the gallery. By creating a space that features current local Atlantic artists, the gallery with create a connection with communities throughout our region, large and small. It will create a space for people to come together and talk about art from their community. It will also create an opportunity for artists to get significant press and to show their work at a major Canadian venue. This would also be an excellent chance for people who might be feeling intimidated by the main gallery to see artwork in a low pressure setting. Someone like Cassidy Goode would be able to come a get a bite to eat and take in some of the work of local artists and craftspeople. (continued on next page)

The current Cheapside Cafe is a poorly featured pat of the AGNS, however a venue like that were art is displayed and food is served would be the perfect place to put work by community artists. The restaurant would be open year round and have changing exhibitions throughout the year to highlight different artists. An opening reception in the space would be a great chance to have an event that brings the community and artist together to make the connections between artists and people that Ryan is really looking for. Attracting more visitors means catering to as many people as possible. A great way to attract people is by having a good café. Art galleries can take hours to view, so providing a café as a place to rest is important to gallery experience. This is especially true in the average visitor who has little or no art education. This type of visitor has a shorter attention span and suffers easily to museum fatigue so providing them with an enjoyable space to rest and take breaks is important. A café can also draw people into the building as it provides a nice place for people to socialize or relax. A café would also provide a good place for Cassidy Goodenough to go on her lunch break. This would giver her a great chance to meet like minded people who also appreciate art.

Selective and elegant

Art can intervene into

upward architectural

the daily humdrum

lighting draw attention

routine of local life simply

to the historic qualities

by placing it into view

of the building's

in the places where

architecture.

people pass the most

Solution D Outdoor Marketing: AGNS Unhidden In order for the galley to be relevant, it should engage residents and communities “where they are.” The gallery must seek to position itself where people are today both physically and emotionally, looking to its communities first before tourism markets. Part of the art gallery's assumed role is more than a place to exhibit artwork; it is first a work place for the employees, meeting place for the communities, venue for various culture (art, theater, music, history etc.) and collaborator to support public movements (e.g. green initiatives).

People like Max Black or Cassidy may not be interested in looking at the AGNS website or new exhibitions in art newsletters. Worth exploring is outdoor Guerilla Marketing to surprise them, using [1] Unexpected mediums and places for AGNS’ ads to be; [2] Providing eye-pleasing invitations where residents are physically within the audiences’ daily lives; and [3] Attempts to make emotional connections with the audience therefore change the stereotype of AGNS, as an old-fashioned and cold place.

The founder of the Newark Museum John Cotton Dana cautions us:

...to remember, always, ‘that the very essence of the public service of a public institution is the public’s knowledge of the service that institutions can give; therefore advertise, advertise, advertise. Advertising is the very life-blood of all the education a museum can give.’

1. The Unexpected • Ads at the new Farmers’ Market by Waterfront: Large Lit-up stands with art pieces along with brochures of the brand new programs, announcing the gallery’s rationale for such changes in programs

2. Daily Invitation • Main Streets: Banners on the light poles by sidewalk on two main streets (Barrington St. and Spring Garden Rd. –add Waterfront St. for Summer-) each poles stating series of “free” services and events • Bus stops: Lit-up side stands like the Farmers’ Market signs • Meeting places: coffee shops, bookstores, theaters, teahouse: Provide stickers or mini postcards on the counters with the “free” promotion

3. Emotional Connection • Starbucks, Just Us and Second Cup: Generate short-term Exhibitions of series of art copies created from various new communityfriendly programs on the walls of coffee houses that are photography/art-work friendly

Just imagine these scenarios:

Cassidy Goode returns from Farmers Market on Saturday morning very uplifted. She cannot wait to bring up her experience from the market in the conversations at work. Sure enough, one of the first things she says in the morning on Monday is: “Hey Claire, you totally missed out on this new thing at the Farmers' Market. I think you'd appreciate it, we should go together this Saturday...They have these screens of art collections from AGNS, it's kind of refreshing to seepaintings of Halifax surrounded by food and stuff.” She pauses. “It made me feel like they are part of our lives, y'know? Oh.. and here, I found out about this free community event next Thursday... would you be interested?" She hands over one of the fliers from AGNS she found on the coffee tables at the Market. Ryan buys Max coffee at Second Cup. Max sees AGNS "free" sticker series on the counter and thinks, Hah- who's trying to get Mr. Black in their scene now? and grabs a couple of those stickers. On the other hand, Ryan doesn't really notice them. Sitting down on comfy chairs with his 'Holiday London Fog' latte, Ryan now realizes that the coffeeshop walls have amateur art work hanging, whose work seem to be done by the residents of Halifax. He sees little information fliers on the wall that are from AGNS,which explains community events. He is thrilled to know more about this now and says to Max, “How cool- this is exactly what I hoped to see places like AGNS do.” Max responds, “Ah yeah, really? That's great... um, yeah apparently they've got some free services too which I might check out this week. ... Hey- thanks for the coffee by the way.”

: A redesign proposal for the interior of the AGNS. The interior design draws inspiration from the louisiana art gallery located in Denmark

Solution E A Destination in the Halifax Landscape Getting people through the doors can be the hardest part of designing an art gallery. All the hard work done on the inside of a gallery cannot be experienced until people enter the building, so its important to create an exterior that attracts as many people as possible. The Guggenheim in Bilbao is an excellent example of how the exterior can be used to attract attention. This gallery has changed the area it is located, and this buzz that has transformed into high levels of attendance. More than a million people visited the gallery, and this tourism generated more than $200 million for the local economy. (McClellan 2008) The AGNS should consider an exterior redesign to generate some interest in the community. This could attract people who donâ&#x20AC;&#x2122;t usually go to art galleries but do appreciate good design and good architecture, such as Ryan Wilson and Cassidy Goode.

The typical art gallery (including the AGNS) is a white walled, windowless building, with sterile lighting and blank floors. They are designed so that nothing interferes with how people experience the art. (O’Doherty 1976)1 There are galleries that break this mold and let the interior have some character. A good example of this is the Louisiana Museum of Modern Art, located in Denmark. Floor to ceiling windows allow natural light to flow into many of the galleries, and allow the visitor to look out towards the beautifully landscaped grounds and the sea. The Louisiana also uses lots of wood in the ceilings, and natural coloured brick on the floor. These materials give the gallery a warm, inviting feel and give visitors an excellent environment to view art in. If the AGNS were to redesign their interior in a more contemporary way, it could help win back some viewers, such as Max Black, who are growing tired of the existing layout.

“A gallery is constructed along laws as rigorous as those for building a medieval church. The outside world must not come in, so windows are usually sealed off... The art is free, as the saying used to go, “to take on its own life.” ...You are there without being there.” (O'Doherty, p. 15)

future directions 50

Art Galleries provide a venue for contemplation and a source for education about history, culture, and sociology, but they are also asked by their public to be recreational destinations. Art Galleries in the 21st century need to break away from the 19th Century paradigm that many art galleries are restricted to, and allow for greater accessibility among their respective communities. As a space that was traditionally associated with wealth, high class members of society, and conoisseurship, the gallery needs to transform into an environment focused on meaning-making for a variety of levels of understanding. (Zolberg). It is essential that a galleryâ&#x20AC;&#x2122;s staff can balance the need for preservation and collection of artworks, and the need for gallery visitors to feel a sense of recreation when they attend an Art Gallery. In a culture where art galleries compete with movie theatres, cafes, and concert halls as forms of recreation and entertainment, art galleries must adjust to work within this changing climate. By incorporating the rich and vibrant culture of art in an art museum in more dynamic ways, such as self-guided tours, community projects,or classes, art galleries are finding new ways to remain relevant. Enriching the gallery experience with

different aspects of 21st century culture conclusion allows visitors to make meaning through experiencing different aspects of their culture they are familiar with, while also becoming educated about art. (Reid) Aside from theoretical research, personal interviews and observations conducted by the group were incredibly valuable and gave critical insight as to what the issues were facing art galleries for people ages 18-35. All of the interviewees for this project felt that art was an important aspect of their culture, and while often their beliefs did not mesh with their gallery attendance rates, this helped to further cement the underlying issues in art galleries. Several of the interviewees felt that the art gallery experience currently was not for them and did not meet their needs, but that they would attend art galleries if they felt more comfortable in actually going. Based on primary and secondary research, the suggestions and recommendations made for galleries will help increase their relevance within the 18-35 age range, resulting in an increased interest and gallery attendance from this demographic. It is critical this demographic maintain an awareness of the importance of art to our culture, so that they may pass down this rich cultural significance to future generations. Ď&#x20AC;

Adams, M., Moreno, C., Polk, M., & Buck, L. (2003). “The dilemma of interactive art museum spaces”. Art Education, 56(5), pp. 42-52. The use of interactive technology in art galleries for the benefit of children (exhibits that utilize inquiry based strategies such as games, props, and other uses of the sense of touch) invite children to participate in the art making with the artist. Activity stations within the gallery were other ways children were able to be interactive, while still focusing on learning. Davis, P. (2007). Place exploration: Museums, identity, community. Museums and their communities (pp. 53). New York, NY: Routledge. Deliss, C. (2007). “Explore or educate”. In P. O’Neill (Ed.), Curating subjects (pp. 86). London, UK: Open Editions. As an alternative for addressing the problem of gallery fatigue that comes along with traditional gallery settings, two exhibitions are compared in their experiences of space and time. In first exhibition, John Bock’s exhibition at the ICA in London, UK, Bock created an environment in the gallery that did not allow visitors to move passively through the space. Visitors had to crawl through tunnels, climb ladders, or go through tree houses to reach the art. Giebelhausen, M. (2006). “The architecture is the museum”. In J. Marstine (Ed.), New museum theory and practice (pp. 41). Malden, MA: Blackwell Publishing. Gladwell, M. (2000). The tipping point. New York, NY: Bay Back Books.

annotated bibliography 52

Goldstein, A. (2009). “Museum attendance rises as the economy tumbles”. Art Newspaper. Art Galleries in the United States saw a steady rise of visitors during the recession. Both free and paid admission galleries saw increases in visitors and galleries showcasing contemporary work had the highest increase. Hooper-Greenhill, E. (2007). “Interpretive community, strategies and repertoires”. In S. Watson (Ed.), Museums and their communities. New York, NY: Routledge. An Interpretive community is defined as a group of people who share interpretive strategies for communication. Interpretive communities are not fixed, but rather fluid and unstable. The members change as their individuals revise their thoughts and redirect their interests. Immersing museum-goers in activities of the culture will change the museum experience from one of static objects in a building, to one of experience and engagement, making it more accessible to a variety of interpretive communities. 53

Hoppenfield, S. (2005). “Families and art galleries: How values and philosophies shape spaces”. Focusing on Vancouver Art Gallery’s initiative toward family gatherings and activities in the gallery. Events in the gallery work toward generating a familial bond, with experiences that are enriching to a child’s school curriculum, while also being a learning experience for adults. Jancsurak, J. (2005). “Distinguishing friendly spaces: Gallery owners share do’s and don’ts for designing galleries that are inviting”. Art Business News. Three private galleries discuss the best way to create a meaningful experience for visitors. Addressing gallery environmental design and organization of works, these gallery owners suggest best practices for gallery design and layout.

McTavish, L. (2006). “Visiting the virtual museum: Art and experience online”. In J. Marstine (Ed.), New museum theory and practice. Malden, MA: Blackwell Publishing. Challenges associated with featuring an art gallery online, and it’s ability to turn visitors away from attending the actual gallery. How galleries make sure that attending a gallery feels more authentic than just visiting on the web. MoMA|Access programs. (2010). Retrieved 10/03, 2010, from http://www.moma.org/ learn/programs/access Morin, F., Poshyananda, A., Ramírez, M. C., Turner, C., Zabel, I., & Cassel, V. (2000). “Beyond boundaries: Rethinking contemporary art exhibitions”. Art Journal, 59(1), pp. 4-21.

Marstine, J. (Ed.). (2006). New museum theory and practice. Malden, MA: Blackwell Publishing.

Newman, A., McLean, F., & Urquhart, G. (2005). “Museums and the active citizen: Tackling the problems of social exclusion”. Citizenship Studies.

McCarthy, K., Ondaatje, E., Brooks, A., & Szanto, A. (2005). A portrait of the visual arts: Meeting the challenges of a new era. In today’s art world, the dominant venue for arts appreciation is the public art museum. This article is a comprehensive overview of challenges facing the 21st Century Art Museum. Topics include public involvement, visitor experience, cultural shifts in leisure, and the effect of education on art appreciation.

O’Doherty, B. (1976). “Inside the white cube: Ideologies of the gallery space”. Artforum. An analysis of the paradigm for contemporary art galleries: the white cube that arose from modernist and post-modern art. We reached a point in society where we do not see the art first, but we see the space first. Galleries must not allow anything to interfere with the art, to allow the artwork to be the focus of study. O’Neill, P. (Ed.). (2007). Curating subjects. London, UK: Open Editions.

McClellan, A. (2008). The art museum from Boullée to Bilbao. Los Angeles, CA: University of California Press. Frank Gehry’s Guggenheim Museum in Bilbao is given as an example of an architectural structure that has had a huge effect on the surrounding city. Also considered in this article is the common “Gallery fatigue” that occurs in many inexperienced visitors and what makes museum design and labelling systems successful. McIntyre, C. “Museum and art gallery experience space characteristics: An entertaining show or a contemplative bathe?” International Journal of Tourism Research. Identifying the different types of spaces that gallery staff may aim to create: Warm as traditional, contemplative ‘bathe’; Hot as a theme park-like structure, activity rich spaces, suitable for a contemporary gallery; Cool which includes a resting space or pacing elements like a gallery cafe/shop and the option to ‘add to the experience’, Cold space is detached from core-experience and is seen as being high tech. 54

Reid, S. “Re:Public - considering the audience in curatorial practice”. Curators in Context. Sherman, D., Rogoff, I., & Zolberg, V. (2003). “An elite experience for everyone: Art museums, the public, and cultural literacy”. Museum Culture: Histories, Discourses, Spectacles. As art has always been associated with high culture, the galleries in which they rest take on the same resonant feeling. The gallery has become a space that evokes a feeling of wealth and restricted elitism, only for the initiated and well-bred. Sterry, P. “Design conscious investment and interpretation design: The case of museums, art galleries, and cultural heritage attractions”. Watson, S. (Ed.). (2007). Museums and their communities. New York, NY: Routledge.

interviews

#1 Rebecca Thompson, 20, Female

Interviews with real users formed the groundwork

1. Single 2. Unemployed, Student

for the values, logic, and characteristics we applied to

3. Dancing, reading, art 4. Yes

the Persona narratives and conceptual solutions. The

5 not picky, so anywhere really pretty open to whatever

raw text and handwritten forms are included here for

6. Historic art Old art ancient egyptian art and stuff like that

reference and context.

6. Yes 7. can始t remember Along time ago

8. Yes 9. i don't remember their names, but one in New York and one in London, another in Montreal and in Toronto 10. i loved them, i remember in london there were these great glass sculptures, they were so neat - Went with family Parents and aunt

8. isn't much advertisement about things going on, or at least none seen so it would be nice to know what's going on in one

appendix 56

Name: Emma Robillard Cole Age: 20 Gender: Female

Name: Ellen MacKinnon Age: 23 Gender: Female Date(mm/dd/yyyy): 17/12/1986

1. What is your current familial status (married with kids, single, divorced, etc.)? Single

2. What is your current occupation? Unemployed, Student, piece work advertising for my dad

2. What is your current occupation? Jr. Account Executive, Time + Space Media

3. What are your Interests and hobbies? debating reading knitting watching television 4. Do you enjoy Art (paintings, sculptures, interactive media)? Yes it's a good way to experience new perspectives and of course pass time 5. If you have a chance to visit a ‘dream gallery’, what do you think it will look like? think the gallery space is less important than the art

not sure, I

5. maybe an advertisement? I kind of think of it organically. like if I'm bored or it's raining or I need a place to go on a date, I just think of an art gallery. well I'd also think of museums, etc 6. Yes -

7. last time was when the grinch was there probably 8-10 times throughout my childhood 8. national art gallery in Ottawa some smaller ones in small towns in NS 9. Relaxing, ah, I really like the views from the Ottawa art gallery 10. I've gone to galleries with a variety of different people signiﬁcant others, friends, family and with my 11. classes when I was younger

3. What are your Interests and hobbies? Skating, reading, cooking 4. Do you enjoy Art (paintings, sculptures, interactive media)? Yes 5. If you have a chance to visit a ‘dream gallery’, what do you think it will look like? Augmented reality-type displays, with mood lighting 6. What would make you want to go to an Art Gallery? An artist that I know or a theme that I am interested in is being displayed 7. Have you been to the Art Gallery of Nova Scotia (AGNS)? Yes 8. How often do you visit the AGNS? When would you usually go? only been once

7. maybe larger variety of exhibits? outdoor space, a cafe?

9. Have you been to other galleries? If so, please name them (or say where they were). Louvre (sp?) in P aris 10. What was your gallery experience like? Fun and interesting 11. What was most memorable about your gallery experience? Louvre- Mona Lisa, AGNS – the Maud Lewis exhibit 12. Did you go with anyone? Yes 13. Is there anything more you would want from an Art Gallery? 14. More “popular- themed” exhibits 15. 16. 17. 18. 19. 20. 21. 22.

23.Name: Jen Age: 27 Gender: F Date(mm/dd/yyyy): 10/25/10

Name: Ben Cameron Age: 34 Gender: Male Date: (10/25/2010):

1. What is your current familial status (married with kids, single, divorced, etc.)? Married no kids

1. What is your current familial status (married with kids, single, divorced, etc.)? Married, no kids.

2. What is your current occupation? Account Planner – Media/Communications 2. What is your current occupation?

3. What are your Interests and hobbies? Sports/Cooking/Traveling

Media planner/buyer.

4. Do you enjoy Art (paintings, sculptures, interactive media)? Yes…Depends on the application

3. What are your Interests and hobbies?

5. If you have a chance to visit a ‘dream gallery’, what do you think it will look like? Not sure….something a little more traditional and not too “off the wall” 6. What would make you want to go to an Art Gallery? A cool exhibit, friends recommendation or very famous work. 7. Have you been to the Art Gallery of Nova Scotia (AGNS)? Yes but never done an actual tour. Been in the store and purchased a painting. 8. How often do you visit the AGNS? When would you usually go? Only been there once before.

Music, cars & hiking. Metalhead, not into art 4. Do you enjoy Art (paintings, sculptures, interactive media)? I do enjoy art, but very casually. No enough time to really take a keen interest and get involved. 5. If you have a chance to visit a ‘dream gallery’, what do you think it will look like? Filled with famous paintings (Dali, etc.). I have less interest in seeing local/folk art. 6. What would make you want to go to an Art Gallery? Having the free time. 7. Have you been to the Art Gallery of Nova Scotia (AGNS)?

9. Have you been to other galleries? If so, please name them (or say where they were). AGO - toronto

No.

10. What was your gallery experience like? Doesn’t remember…it was so long ago.

8. How often do you visit the AGNS? When would you usually go?

11. What was most memorable about your gallery experience? Probably experiencing something new and different 12. Did you go with anyone? Probably went with family

N/A 9. Have you been to other galleries? If so, please name them (or say where they were). No.

13. Is there anything more you would want from an Art Gallery? Not sure….

Name: Scott Blunden

Name:Jamie Tattrie

Age: 28

Age: 20 Gender: Male Date(mm/dd/yyyy): 10/25/10

Gender: Male Date(mm/dd/yyyy): 10/26/2010

1. What is your current familial status (married with kids, single, divorced, etc.)? in a relationship with a 3 and a half month old daughter

1. What is your current familial status (married with kids, single, divorced, etc.)? Married with no kids

Advertising – Account Coordinator

2. What is your current occupation? student full time retail at canadian tire part time

3. What are your Interests and hobbies?

3. What are your Interests and hobbies? motorcycles, bowling, music

2. What is your current occupation?

Heavy sports enthusiasts

4. Do you enjoy Art (paintings, sculptures, interactive media)? Yes, anything by noah k on deviant art, fantasy, photoshop that looks drawn. its the

4. Do you enjoy Art (paintings, sculptures, interactive media)? I enjoy other people’s works of art, but not creating it myself

style of his work that i like. 5. If you have a chance to visit a ‘dream gallery’, what do you think it will look like? It would be in an old converted building. Perhaps an old house where each of the rooms can be used to house different collections.

5. If you have a chance to visit a ‘dream gallery’, what do you think it will look like? Full of enjoyed stuff (#4). layout?only seen the nova scotia art gallery so like that. there would be more glass windows, glass ha;;ways even, for light or just to be cool?both i don’t know how it would effect the pictures though with lighting from windows it might not do them justice hard to say without seeing it tho

6. What would make you want to go to an Art Gallery? Having a connection with the artist, whether it is personal or reading/hearing about them and their work.

6. What would make you want to go to an Art Gallery? GOLD!! an invitation, or i knew i liked some of the work, or to culture my daughter when she’s older do you think she could beneﬁt from going? maybe, it couldn't hurt especially if she is into that kind of thing

7. Have you been to the Art Gallery of Nova Scotia (AGNS)? Yes 8. How often do you visit the AGNS? When would you usually go? I’ve only gone one time 9. Have you been to other galleries? If so, please name them (or say where they were).

7. Have you been to the Art Gallery of Nova Scotia (AGNS)? One time in elementary school 8. How often do you visit the AGNS? When would you usually go? N/A

Yes, I went to a few in Halifax during Nocturne this year, Art Gallery of Ontario 10. What was your gallery experience like? Good. I enjoy the small intimate galleries more than the AGO and AGNS, but the artwork at the AGO was my favorite.

9. Have you been to other galleries? If so, please name them (or say where they were). Nope 10. What was your gallery experience like? Don’t really recall it wasn't bad not something id do all the time

11. What was most memorable about your gallery experience? As I have very little art experience, I felt intimidated at the AGO. That’s why I enjoy the smaller galleries more. 12. Did you go with anyone? Yes, my wife and friends 13. Is there anything more you would want from an Art Gallery? From the larger galleries I would enjoy a smaller cozy feel. I ﬁnd them too large and cold.

11. What was most memorable about your gallery experience? the only pieces i remember were the one from the heritage commercials the black squares and stripes on it, and a bird that had been shot and was falling 12. Did you go with anyone? School trip 13. Is there anything more you would want from an Art Gallery? nothing comes to mind, more glass

Name:Nathan Henley Age: 20 Gender: Male

Name: alex cuvelier Age: 20 Gender: Male Date(mm/dd/yyyy): 10/27/10

1. What is your current familial status (married with kids, single, divorced, etc.)? Single

1. What is your current familial status (married with kids, single, divorced, etc.)? single

2. What is your current occupation? Student 3. What are your Interests and hobbies? Technology, Girls. 4. Do you enjoy Art (paintings, sculptures, interactive media)? Sure, usually unique 5. If you have a chance to visit a ‘dream gallery’, what do you think it will look like? Big and fancy, it would have everything, mona lisa, statue, all the historic stuff, not so much on the up to date stuff, no on contemporary 6. What would make you want to go to an Art Gallery? A date, style of the art if it caught my interest, lighthouses and boats= don’t care, depends on style 7. Have you been to the Art Gallery of Nova Scotia (AGNS)? Yes, taught me how to write with a silver pencil, I work there ofﬁce building above gov’t 8. How often do you visit the AGNS? When would you usually go? 5 days a week, 5-10 for work purposes 9. Have you been to other galleries? If so, please name them (or say where they were). Yes, big one in toronto. 10. What was your gallery experience like? Enjoyable, one time that we took art lessons, toronto family trips 11. What was most memorable about your gallery experience? Silver colored pencil, will never forget that 12. Did you go with anyone? You and my family, the school 13. Is there anything more you would want from an Art Gallery? No, there to look at art, no much else they could add.

2. What is your current occupation? Student, pet store supervisor 3. What are your Interests and hobbies? Enjoy video games, bass guitar, that’s it 4. Do you enjoy Art (paintings, sculptures, interactive media)? Yes, illustration course at NSCC, drawing people ﬁgure drawing, no particular famous art, fond of medieval paintings 5. If you have a chance to visit a ‘dream gallery’, what do you think it will look like? Made of an aquarium all of it ﬁlled with water, eels, lots of eels, it is art, eel art 6. What would make you want to go to an Art Gallery? Educational and inspirational trip to examine inspirational pieces of art, would want food 7. Have you been to the Art Gallery of Nova Scotia (AGNS)? yes 8. How often do you visit the AGNS? When would you usually go? 2 or 3 in whole in life plan on going back school trip last time 9. Have you been to other galleries? If so, please name them (or say where they were). No, none at all 10. What was your gallery experience like? It was good, I enjoyed it, it felt like a museum, informing and entertaining, both 11. What was most memorable about your gallery experience? Remember abstract art section, nothing that really stands, painting of a road, teach about perspective about 7 12. Did you go with anyone? school 13. Is there anything more you would want from an Art Gallery? Food, like more diversity in art, medias, difference types of art, performance pieces, more inclined to go if they had more diversity

Name: Bess Age: 35 Gender: F

1. What is your current familial status (married with kids, single, divorced, etc.)? Single / no kids

INTERVIEW: Name: BJ Fougere Gender: Male Age:24 1. What is your family situation? Lives at home with parents in Bedford.

2. What is your current occupation? Media/Marketing/Strategy 3. What are your Interests and hobbies? Art, food, wine, travel

2. What is your current occupation? Self employed metalsmith, clothing brand co-owner/gallery receptionist

4. Do you enjoy Art (paintings, sculptures, interactive media)? Yes 5. If you have a chance to visit a ‘dream gallery’, what do you think it will look like? Guggenheim in NYC because I’ve yet to visit this gallery - both for its stunning architectural design & permanent collection.

3. What are your Interests and hobbies? Shooting guns, playing monopoly, smoking weed, playing video games especially GTA4 and Wii Tennis,

6. What would make you want to go to an Art Gallery? I’m a lover of visual arts – particularly contemporary art. Anything that makes me think, or that creates dialogue. 7. Have you been to the Art Gallery of Nova Scotia (AGNS)? Yes. I’m a member. 8. How often do you visit the AGNS? When would you usually go? Usually for every new exhibit. I should note I’m vice-chair of the AGNS Young Patrons’ Circle – so I’m a regular  9. Have you been to other galleries? If so, please name them (or say where they were). Art Gallery of Ontario Royal Ontario Museum of Art New Museum (NYC) A slew of independent art galleries in Halifax, Toronto, Montreal, NYC, Chicago, Boston, Paris, Rome, Florence, Verona, Venice and Athens Chicago Institute of Art Mass MoCa (Boston) MoMa (NYC) AGNS Et al What was your gallery experience like?

4. Do you enjoy Art? If i think its Art, most times i think Art is bogus, then others i am blown away by, so i like what i dont hate, and i love to hate cause these bogus "Artist" are full of shit. 5. If so, what would be your preferred art space/gallery? the space doesnt really matter per se, unless the work is site specific, but to have continuity in the work the space should be considered by the artist. 6. What would make you want to go to an Art Gallery? Work with stunning visuals, intelectual meaning, politically charged comentary, and social critique. fuck making shit thats fun loving or an expession of an artist- work must be balanced between raw and to the point aswell as being beautiful and vague. tension must be present, also, flavored coffee and shots

AGNS was Good. 11. What was most memorable about your gallery experience? AGNS - They do a great job with their new exhibits and installations. 12. Did you go with anyone? Sometimes solo, sometimes not.

INTERVIEW: Name: Phil Wilson Gender: MALE Age: 20 1. What is your family situation? single mom remarried, two kids. no dad 2. What is your current occupation? Henning Larsen Architects - Student Intern 3. What are your Interests and hobbies? architecture, art, design, hot girls 4. Do you enjoy Art? yes 5. If so, what would be your preferred art space/gallery? This is a very tough question to answer. 6. What would make you want to go to an Art Gallery? artists featured, architecture, location, reputation, history, landscape, setting, light 7. Have you been to the Art Gallery of Nova Scotia (AGNS)? unfortunately ( haha it wasnt that bad) but yeah. - How many times and when? once at the end of the past summer - Have you been to other galleries? If so, please name them. Arken, guggenheim MoMa ny, Ordrupgaard, Louisiana (DAN), Louvre, Academia, Uffizi, anna leowens, AGO, McMichael Canadian Art Collection, vangogh gallery amsterdam, probably missed a few. - Tell us about your experience. this is a very huge question. - Did you go with anyone? alone, friends family girlfriends ex girlfriends? weird question?

Luke Norrad 1. divorced parents, brother 2. student 3. art, music, skateboarding 4. yes 5. somewhere welcoming while still maintaining high quality shows 6. artists featured 7. yes 10 times? last time was last month -i can't really remember the names of many other galleries but have been to them in halifax, montreal, boston, various european cities -every experience was different...some great, some terrible -usually went alone Padraig O'Hagan 1. live alone/ loner/ lone wolf/ loan shark 2. PR consultant 3. music, cars 4. yes 5. utility 6. more artist Q&A's, more interactive exhibits, less painterly works 7. yes - 10+ mid-day - yes, AGO (art gallery of ontario) - very good. saw the works of the dude that won the sobey art award - my ex girlfriend, who is now dead to me. Justin Corey Sexy male 23 1.involved, have a little girl 2.warehouse slave 3.kids,pets,tattoos,art,music 4.yes,very much so 5.a crazy dark dungeon full of rad art 6.seeing art i could relate to better 7.no but id like to 69

INTERVIEW: Name:Ben Ferguson Gender:Male Age:24

INTERVIEW: Name:Jake Seaward Gender:Male Age:19

1. What is your family situation? ?

1. What is your family situation? Two parents, but live with girlfriend.

2. What is your current occupation? Marketing for a magazine

2. What is your current occupation? Musician / Fish Monger

3. What are your Interests and hobbies? Hockey, Marketing, Antique pipe collecting

3. What are your Interests and hobbies? Music, Intoxication, Rock and Roll

4. Do you enjoy Art? yes

4. Do you enjoy Art? Yes

5. If so, what would be your preferred art space/gallery? -

5. If so, what would be your preferred art space/gallery? One with music.

6. What would make you want to go to an Art Gallery? Original ideas and concepts, something that creates a buzz

6. What would make you want to go to an Art Gallery? Music, or like something that you dont see ANYWHERE else

7. Have you been to the Art Gallery of Nova Scotia (AGNS)? no - How many times and when? - Have you been to other galleries? If so, please name them. - Tell us about your experience. - Did you go with anyone?

7. Have you been to the Art Gallery of Nova Scotia (AGNS)? Yup - How many times and when? Once, elementary school field trip. - Have you been to other galleries? yup If so, please name them. Went to a couple while travelling, - Tell us about your experience. Seeing the real statue of david in italy, its something you dont see anywhere else. - Did you go with anyone? Friends are good

Name: Alison May Crozier Gender: Female Age: 22 1. What is your family situation? Single

INTERVIEW: Name: Laura Chiasson Gender: Female Age: 20

5. If so, what would be your preferred art space/gallery? The street, or shops, galleries can seem forced

1. What is your family situation? Single 2. What is your current occupation? Student 3. What are your Interests and hobbies? Swing Dancing and School 4. Do you enjoy Art? yes 5. If so, what would be your preferred art space/gallery? a space with installations 6. What would make you want to go to an Art Gallery? Big pieces of work (would prefer textiles) 7. Have you been to the Art Gallery of Nova Scotia (AGNS)? Yes

6. What would make you want to go to an Art Gallery? something tactile, a laid back atmosphere

- How many times and when? about 5 times. All in the last three years of school.

7. Have you been to the Art Gallery of Nova Scotia (AGNS)? Yes

- Have you been to other galleries? If so, please name them. National gallery of art Anna leonowens

2. What is your current occupation? Student, Giant Tiger 3. What are your Interests and hobbies? Fashion, Baking, Reading 4. Do you enjoy Art? Depends how you define art, most of the time i hate it

- How many times and when? Twice, in fall 2009 for a class, and spring 2010? - Have you been to other galleries? Yes If so, please name them. anna leonowens, Museum London, seeds, Irish Linen Museum (lisburn), a few others - Tell us about your experience. stale, mostly just wanted to leave, seeds and Linen museum were the best, because i felt like I learned something

- Tell us about your experience. it was the atmosphere quiet like a church. I felt that even if the people in here were dumb they were trying to sound intellegent. they were putting in an effort it's kind of like church lol (you don't believe in god, too bad, you pretend in church) - Did you go with anyone? National gallery of art: By myself Anna leonowens: with fellow students

- Did you go with anyone? Friends and Family 72

Willow Travis F / 32 / Married

“Louver. I didn’t know about the collection but it was beautiful… the history and the fame … and it was free. I won’t pay to visit (galleries) unless it’s famous.”

Name: Shawna Nicole Little Gender: Female Age: 22

1. What is your family situation:

“… I went to a painting gallery once. And it was

“Young family of three. (husband –who is a musician-

emotionally moving. (They were) realistic paintings by

and a three year-old daughter)”

a Native American artist and were not particularly my

1. What is your family situation? Single

2. What is your current occupation:

2. What is your current occupation? Student/Smart Set 3. What are your Interests and hobbies? Reading 4. Do you enjoy Art? Not particularly 5. If so, what would be your preferred art space/gallery? Don't have one 6. What would make you want to go to an Art Gallery? Free Access and appealing ads 7. Have you been to the Art Gallery of Nova Scotia (AGNS)? No - How many times and when? - Have you been to other galleries? If so, please name them. No

type of art. (But) the scenes were telling stories and it moved me.”

“Home maker” 10. Did you visit those galleries with someone: 3. What are your interests and hobbies:

“I usually go to galleries with someone like family;

“I don’t have much free time but I am interested in

mom and dad … and friends.”

nutrition, crafts, being in nature, music. As hobbies, I like doing out door activities like going to a beach, live

11. What would be your ideal gallery that is worth

music shows, cooking, gardening and experiencing

visiting:

beautiful places (adventure).”

“It would be cool to have children’s gallery! I would go to them. I am always looking for Emie (daughter)’s

4. Do you enjoy Art:

exposure, I think children can appreciate art… I will

“Yes”

PLAN that outing (which I generally don’t plan ahead to visit galleries. It’s more spontaneous activity) for

5. What would be your preferred art space:

Emie if there was a gallery/art experience place to have

“I find art in nature and I like unexpected encounter

hands-on experience like with water, etc. To me, it’s

with art in unexpected places. I am not much into

different than (what happens when you go to) a

modern art, I like natural art that is adding something

galley… it’s like museum plus activity.”

to the nature that already exist.” 12. What makes the distinction between art galleries 6. What is your motive to go to an Art gallery:

and art museums:

“I am not typically seeking out name galleries

“Gallery is more commercial, I always feel pressure to

(branded ones). Famous shows are good for experience

just enjoy the art and not buy anything form there.

them in person, … I am wanting to enjoy beauty (at

(But there is no pressure at an art museum) I felt the

galleries); to see the beauty, I want to take time to

same way about my parent’s galley (my dad owns one)

explore.”

too, and I think a lot of art is over priced, but it’s also very subjective… because it’s not daily necessity and of

7. Have you been to AGNS:

course it’s how the artists make living… so when I am

“No”

at my dad’s gallery, I feel that way (for the visitors to be wanting to take art home).”

8. Have you been to other galleries: (Willow is from

“… for me, home space matters for purchasing art as

Seattle, U.S.)

well, if I had enough space at home and had money,

“Yes, 20+… local galleries.”

I’d have bought the art piece (of the Native American)

“(When I visit galleries) it’s quick visit and I move on.”

for instance!”

9. Tell me about your memorable gallery experience:

Mary-Ellen Eisses Swanson F / 31 / Married

Ryan Swanson M / 34 / Married

“(In New Haven, Connecticut U.S.) Yale art gallery. I enjoyed the large paintings… when I saw this piece of

when visiting art spaces (like Yale campus) … I hate New Minas (for instance), so dead ugly and commercial. I love walking through thought-out

a modern art (which is a surprise because I don’t 1. What is your family situation:

typically like abstract art) was full of hand marks and

1. What is your family situation:

places, I appreciate the consideration (of the city

“Young family of three. (husband and a two year-old

shapes, explosion of colors… I connected with it and I

“Young family of three (wife and a two year-old

developers and architectures) for the community.”

daughter)”

had tears. (At Yale) I like that fact that I could just walk

daughter).” (No 10.)

around (set my own pace of looking around)… the size 2. What is your current occupation:

of the space was good.”

“Home maker, business manager for apple farm and a cook”

10. Did you visit those galleries with someone:

2. What is your current occupation: “Ex-missionary and team builder, currently an

11. What would be your ideal gallery that is worth

orchardist (I take farming as a form of art too).”

visiting: “I will go to a photo show that has wine and cheese…

“… depending on the type of gallery… if I am wanting 3. What are your interests and hobbies:

to take it all in, I wan to go in alone. I’d want to let it

3. What are your interests and hobbies:

the experience to connect with the art (and the artist),

“I am interested in creating home… where it is

be personal (experience).”

“…being an husband and a dad, exploring relational

a setting that feels like home, the purpose of story-

dynamics, theology, sociology, technology, graphic

telling gallery will be perfect for me. For example, I

11. What would be your ideal gallery that is worth

arts, fonts and movies. I like hockey; team, strategy,

liked your (Hana Seo) show, it turned the place

visiting:

problem solving and overcoming issues. I also like

(basement) into a gallery, there were people from

4. Do you enjoy Art:

“Multi-media, food, pottery, traditional art and trees in

chess (I consider it as war but it can also be art),

community connecting, story was told… great food… it

“Yes”

the garden and incorporating many (different) views of

writing, watching ads, listening to teachings.”

was good.”

“…food art; the composition of flavor and texture and

art!”

its presentation with nice dishes and things. I consider

“Also (for the architecture) I like poles and bridges

4. Do you enjoy Art:

nature as art too, the color and the sand… it’s raw art.”

incorporated to modern structures that display art…”

“Yes”

natural, peaceful, full of life and joy. I like cooking, crafting, gardening… and reading.”

“I’d appreciate seeing diversity. I’d like to be open (No 5.)

5. What would be your preferred art space:

minded and understand- not judged (by the gallery) to

“(I liked) MAT and Louver. I like masters’ art and the

be certain type of visitor.”

impressionist, but (I am) not into modern abstract art.”

“…(For Raylee (daughter)) painting gallery. Because

“In-town stores, I like gallery/store… it’s easier to enjoy

they are visual. I want her (Raylee) to be able to learn

and explore (less pressure).”

to appreciate art. At her age 5-6, when she can be quiet

6. What is your motive to go to an Art gallery:

and not touching, I will start taking her to galleries.”

“… If I wan to get to know a place, that’s when I am

6. What is your motive to go to an Art gallery:

interested in small galleries to even buy something to

“The lookf of the space… the location (the town or the

support the local community.”

city it’s in) as part of the mini tour event… also seeing the well-known art collections motivate me.”

7. Have you been to AGNS: “No”

7. Have you been to AGNS: “No” “I find the location a bit hidden and the entrance is hard to see. It doesn’t draw in (people).” 8. Have you been to other galleries: “Yes, a dozen of more… local galleries in south shore... potteries and photography galleries…” 9. Tell me about your memorable gallery experience:

8. Have you been to other galleries: “Yes, a few… local galleries in Lorrence Town, not Halifax but Cape-Breton Island...” 9. Tell me about your memorable gallery experience: “In Italy, I saw David… and (I was not much of a gallery person until I met Mary-Ellen, my wife) watching my wife flowing into the art was good (to me). I like old church… the structure of building matters

Jamie Tattrie M / 20 / married

9. Have you been to other galleries? If so, please name them (or say where they were): “Nope”

1. What is your current familial status: “in a relationship with a 3 and a half month

10. What was your gallery experience like:

old daughter”

“Don’t really recall it wasn't bad not something id do all the time”

2. What is your current occupation: “Student full time retail at Canadian tire part

11. What was most memorable about your gallery

time”

experience: “The only pieces I remember were the one from the

3. What are your Interests and hobbies:

heritage commercials the black squares and stripes on

“motorcycles, bowling, music”

it, and a bird that had been shot and was falling”

4. Do you enjoy Art (paintings,

12. Did you go with anyone?

sculptures, interactive media):

“School trip”

“Yes, anything by Noah k on deviant art, fantasy, Photoshop that looks drawn. It’s the style of his work

13. Is there anything more you would want from an

that I like.”

Art Gallery? “Nothing comes to mind, more glass”

5. If you have a chance to visit a ‘dream gallery’, what do you think it will look like? “Full of enjoyed stuff… layout? Only seen the Nova Scotia art gallery so like that. There would be more glass windows; glass hallways even, for light or just to be cool? I don’t know how it would effect the pictures though with lighting from windows it might not do them justice hard to say without seeing it though.” 6. What would make you want to go to an Art Gallery: “GOLD!! an invitation, or i knew i liked some of the work, or to culture my daughter when she’s older do you think she could benefit from going? Maybe, it couldn't hurt especially if she is into that kind of thing” 7. Have you been to the Art Gallery of Nova Scotia (AGNS): “One time in elementary school” 8. How often do you visit the AGNS? When would you usually go: N/A

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