museum 2012: the socially purposeful museum

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Pre-Raphaelite Experiment: new ways to engage audiences with historic collections through collective user-generated interpretation Marge Ainsley AMRS, Freelance Marketer and Independent Evaluator for Manchester Art Gallery’s Pre-Raphaelite Experiment

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My presentation for Museum 2012 conference in Taiwan. Twenty minutes on Manchester Art Gallery's Pre-Raphaelite Experiment.

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Page 1: Museum 2012: the socially purposeful museum

Pre-Raphaelite Experiment: new ways to engage audiences with historic collections

through collective user-generated interpretation

Marge Ainsley AMRS, Freelance Marketer and Independent Evaluator for Manchester Art Gallery’s Pre-Raphaelite Experiment

Page 2: Museum 2012: the socially purposeful museum

Images courtesy Manchester Art Gallery

Page 3: Museum 2012: the socially purposeful museum

Images courtesy Manchester Art Gallery/Michiko Fujii

Page 4: Museum 2012: the socially purposeful museum

Image courtesy Matt Wardle/Manchester Art Gallery

Page 5: Museum 2012: the socially purposeful museum

Images courtesy Manchester Art Gallery/Michiko Fujii

Page 6: Museum 2012: the socially purposeful museum

Images courtesy Manchester Art Gallery

Page 7: Museum 2012: the socially purposeful museum

Image courtesy Manchester Art Gallery

Page 8: Museum 2012: the socially purposeful museum

Images courtesy Manchester Art Gallery

Page 9: Museum 2012: the socially purposeful museum

Images courtesy Manchester Art Gallery/Michiko Fujii

Page 10: Museum 2012: the socially purposeful museum

Images courtesy Manchester Art Gallery/Michiko Fujii

Page 11: Museum 2012: the socially purposeful museum

Some key conclusions

• Personal experience

• Choice of collection

• Freedom to take over a space

• Working with targeted groups

• Capturing response to live interpretation

• Understanding public response to space

Page 12: Museum 2012: the socially purposeful museum

Future strategy considerationsIs it 'acceptable' to have a space which, at select points in the year, is dedicated for user groups and their intervention?

How much of the overall Pre-Raphaelite collection was engaged with – and doesthat matter? Did four paintings represent the collection and provide enoughopportunity for engagement from both participants and the wider public?

How can you get across the responses from live interpretation into the space – andis this important? Should a new model be weighted towards live interpretation?

How can activity within the participant groups be sustained (for example, theteacher’s network)?

Would further research into the general public reaction help to fill any of the gaps inknowledge to inform a future strategy?

Page 13: Museum 2012: the socially purposeful museum

www.thepreraphaeliteexperiment.org.uk

www.margeainsley.co.uk

[email protected]

Sir John Everett Millais, Autumn Leaves (1856), (crop), courtesy Manchester Art Gallery