Open Studios Network
Conference
SHARING EXPERIENCE
10 December 2008
University of Warwick

To move forward following the launch of the Network in April this year, OSN invited all Open Studios and Art Weeks organisations to attend a one-day conference on Wednesday 10 December 2008 at the University of Warwick, near Coventry.

This was a further opportunity to learn more from the experiences and expertise of others, to hear about ideas for new projects and initiatives, and to get an update on the progress of the Network.

Follow this link for a report of the topics and responses from the Open Forum session: >>OPEN FORUM REPORT

PROGRAMME

09:30   Registration – tea and coffee

10:00   Introduction Caroline Wallace, Bedfordshire
        Organiser of the inaugural OS conference held in 2000

10:20   OSN Marketing / PR Presentation of an event for publicity - a different approach
        Helen Mayer and Caroline Jackman 

10.50   Accessibility and Disability
        MAKING OPEN STUDIOS OPEN TO ALL
The Disability Discrimination Act/Making reasonable adjustments/Do's & Don'ts/Useful websites
Joanna Brendon, West London Open Houses

11.10   Tea/Coffee Break

11.30   Event presentation SWOS

11:50   Scottish Open Studios Network
                Developments in Scotland

12:15   Open Space Forum Feedback on sessions held in April,
and introduction to today’s session
        Jules Cadie

1-2pm  LUNCH at Rootes Restaurant

2:00    Open Space Forum continues

2:45    Tea/coffee break

3:00    Event comparison for benchmarking costs  OSNetwork Research study – evaluation / cost comparisons (brochure printing, etc)
        Gabriella Smith

3.20    SUMMARY

3.35    Further discussion for those who can stay

4.00    Close

OPEN FORUM REPORT

Participants were asked to write-down the topics they wished to explore further, in advance of a session where they could share experience and knowledge.

In no particular order, the following topics were tackled, with the following responses:

Unrealistic expectations of the event by artists.

• Hold a welcome-event for new participants
• Involve artists in publicity teams
• Encourage artists' involvement and feedback – to tackle their real issues – establish each others' expectations.
• Hold artists' forums three weeks' prior to the event – discuss expected outcomes, based on the experience of those who had participated in previous events. “What did YOU do?” (remember the importance of personal stories). Present personal testimony. Use any variance in feedback to inform development/ changes. Emphasise local expertise. Differentiate responses from evaluation forms from responses generated from open meetings. Good communications systems essential.
• Develop a programme of e-mail newsletter/bulletins and constant reminders.

Encouraging artists' involvement and feedback

• Use of area co-ordinators.
• Use of carrots and sticks (completion of an evaluation form is a prerequisite for participating in the next event; entry into a draw for free slot in the next event).
• Hold a party, with some time for a facilitated evaluation. Or use the occasion to hold/host a street-party
• On-line feedback form for participating artists (could use SurveyMonkey)

Establishing criteria for participation

• Hold an alternative Artists-at-Home, for mass-produced/ non-hand-made goods
• Eliminate grey areas by asking artists what their expectations are from the event.

QUALITY –

• decision of audiences! However, overall quality of event could be diluted by some poor-quality participants.
• Recruit through experience. Could this scare some people off?
• “Curator's Choice”; curated special exhibitions; include external/visiting artists (can raise profile; range of programmes; opportunities to include installation artists and performance/live artists)
• MEMBERSHIP: Group? Individuals? Scale of charges – can be expanded. Build a community of artists.

INTERNATIONAL and NATIONAL CONTEXTS

• Twinning; exchanges; county exchange programmes
• USA activity
• Olympic exchange; Cultural Olympiad; a national event? Create an impact in 2012?
• Piggyback on other events and organisations such as the Campaign for Drawing; the Big Draw; a kind of Made in England event.
• Look for synergies between festivals (Brighton & Canterbury). However, consider the appropriate scale. At Birmingham Artfest, almost nobody went to the open studios event that tool place at the same time.
• WASPS in Scotland holds its event on the same weekend, Scotland-wide.

INSURANCE

• Local authorities may provide lists, but not recommendations.
• Block insurance could be included in the fee.
• AIR provides cover for individual subscribers to AN
• SAA
• Insurance is the responsibility of the artist.
• Risk assessment is the responsibility of the artist. A comprehensive brochure and a template for undertaking a risk assessment are available from the Health & Safety Executive at http://www.hse.gov.uk/pubns/indg259.pdf .

IMPACT

• Cultural Observatory East Midlands has a tool kit for measuring the economic impact of cultural events. Details at http://www.emculturalobservatory.co.uk/index.php/Projects/
• It is useful to undertake impact studies to provide evidence to potential sponsors and funders. Event organisers can also do their own ‘STEP' or ‘ PEST ' analyses (Political, Environmental, Social and Technological).
• Environmental impacts include car or bus use, cycling & walking trails; offering a shuttle bus. For sales, this might mean offering a delivery service.
• Local cultural exchanges; divide into areas and stagger events so that other artists can get around (or do a preview for participating artists; lay-on a bus to take them around studio visits).
• Artists collect visitor numbers to their studios – could use a clicker.

CHILDREN & FAMILIES

• Encourage through activities
• School taster-sessions
• Shops as gallery spaces
• Connect with Creative Partnerships
• Provide space for young people on website (example: YAPS: Young Adult Person; Wirksworth Festival), and separate section in brochure
• ACE provides a toolkit: ‘Family Friendly Guidelines' (see website)
• School tours and artists-in-schools schemes

STAYING IN TOUCH WITH THE AUDIENCE

• Year-round activities
• Monthly newsletters
• Using artists and social networking sites; Google Groups. However – stay focused!
• Brochure adverts. –can create extra admin and print costs
• Contradeals: leaflet swaps with literature festivals and theatres; co-promotions with galleries and book shops; exchange advert's in magazines
• Filler-adverts in other brochures (eg venues); printers sell the space on behalf of the events
• Advert's in studios rather than brochures (although difficult to monitor)
• Endorsements - however – keep the balance right .

>>REPORT OF APRIL CONFERENCE

The aim of the inaugural conference was to ensure that the network is tailored to meet the needs of open studios events across England. One of the requests was to have an informal on-line group. This is now available. To join the group, use this link below.

Subscribe to Open Studios Network Group

Email:

Visit this group