Art Gallery of Peterborough report Appendix A

FUNCTIONAL ANALYSIS PLAN

Lundholm Associates Architectsin association with :

Ginder Consultingand

Lett Architects Inc.

Contact:

Michael Lundholm

Lundholm Associates Architects369-401 Richmond Street WestToronto, CanadaM5V 3A8

416 596 7400

[email protected]

a functional analysis of existing accommodation and needs assessment for the Art Gallery of Peterborough

1 November 2011

CSACH14-008 - Appendix A

1 November 2011Lundholm + Ginder + Lett

Functional Analysis Plan

ART GALLERY OF PETERBOROUGH

TABLE OF CONTENTS

ACKNOWLEDGEMENTS i

EXECUTIVE SUMMARY iii

1.0 INTRODUCTION 1

1.1 Purpose of the Study 1-1 1.2 Study Methodology 1-2

2.0 CONSULTATION FINDINGS 2

2.1 Consultation Objectives and Methodology 2-1 2.2 Findings: Stakeholder Consultations 2-2 2.3 Findings: Public Survey 2-8 2.4 Summary of Findings 2-14

3.0 COMPARATIVE ANALYSIS OF OTHER GALLERY FACILITIES 3

3.1 Research Objectives and Methodology 3-1 3.2 Findings of Statistical Analysis of Galleries in Comparably Sized Canadian Cities 3-4 3.3 Findings Art Gallery Facility Image and Identity 3-15 3.4 Findings of Issue-Based Case Studies 3-20 3.5 Summary of Findings of Comparative Analysis of Other Gallery Facilities 3-24

4.0 FUNCTIONAL ANALYSIS OF EXISTING BUILDING 4

4.1 Functional Analysis Objectives and Methodology 4-1 4.2 Existing Space Use 4-3 4.3 Quantitative Analysis of Existing Building Use by Functional Group 4-5 4.4 Qualitative Analysis of Art Gallery of Peterborough by Functional Group 4-6 4.5 Summary of Findings Facility De ciencies and Limitations 4-17

5.0 FUTURE FACILITY NEEDS ASSESSMENT 5

5.1 Planning Objectives and Methodology 5-1 5.2 Functional Model 5-2 5.3 Space Requirements 5-3 5.4 Functional Considerations 5-7 5.5 Technical Requirements 5-11

6.0 RECOMMENDATIONS 6

APPENDICES A



Lundholm + Ginder + Lett1 November 2011






i

ACKNOWLEDGEMENTS

We would like to express our appreciation to all those who contributed to this document.

Functional Analysis Project Team

Celeste Scopelites, Director, Art Gallery of Peterborough

Cathy Wilson, President, AGP Board of Directors

Peter Frood, Vice-president, AGP Board of Directors

Pat Newson, AGP Board of Directors

Mary Gallop, Manager: Facilities and Special Projects, Community Services Department, City of Peterborough

Becky Rogers, Manager: Arts Culture & Heritage Division, Community Services Dept., City of Peterborough

Steering Committee

Peer Christensen, Christensen Fine Arts

Dean Findlay, Deputy Chief Building Of cial, City of Peterborough

Brian Buchardt, Planner, Urban Design, City of Peterborough

Erica Arkell, Financial Analyst, Special Projects, City of Peterborough

Consultation Participants

Thomas Aitken

Audrey Armstrong

Peter Barron

Nolan Beninger

Tracy Berry

John Boorman

Brian Buchardt

Lori Christensen

Peer Christensen

Sandra Clancy

John Climenhage

Lisa Dixon

Ken Doherty

Michael Fortune

Janice Fortune

Peter Frood

Mary Gallop

Carla Garnet

Christy Haldane

David Hall

Brian Horton

Malcolm Hunt

Kate Hyde

William King sher

Fynn Leitch

Susanne Lloyd

Sandy MacFarlane

Paul Markewitz

Ray Marshall

Beth McCubbin

Susan Neale

Pat Newson

Dean Pappas

Lesley Parnell

Krys Perron

Mickey Renders

Cheryl Rice

Becky Rogers

Pauline Sandys

Celeste Scopelites

Deb Scott

Bronson Smith

Bev Stevenson

David Tomlinson

Ellen Trengrove

Wendy Trusler

Barbara van Vierzen

Jane Wild

Cathy Wilson

Dianne Yoo



Lundholm + Ginder + Lett1 November 2011ii


Consultant Team

Lundholm Associates Architects401 Richmond Street West, Studio 369

Michael Lundholm, PrincipalSonya JensenMary-Ann Jelonek

Jenny Ginder, Ginder Consulting

Bill Lett, Lett Architects Inc.





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EXECUTIVE SUMMARY

1.0 Purpose of the Study

The Art Gallery of Peterborough is a well-established public art gallery that serves the community of Peterborough and the surrounding region. It is an anchor for the arts in its community and serves the public by offering a wide variety of exhibitions, educational programs, and events. Since 1974, the Gallery has been dedicated to exhibiting and collecting contemporary works of visual art from Peterborough and across Canada. The Gallerys vision going into the 21st Century is to be a gathering place that engages the community and promotes the arts as a cornerstone of community creativity, and development. The Art Gallery of Peterborough has a signi cant collection comprising approximately 1,500 historical and contemporary art works.

The purpose of the Functional Analysis and Plan is to test community consensus with the Art Gallery of Peterboroughs long-term vision (as expressed in the Strategic Plan) and to develop the programmatic and facility requirements for its achievement. In addition to the recently developed Strategic Plan it will be a key source document for community consultation. The Gallery has also undertaken a building audit that will facilitate the functional analysis of facility needs. The objectives of the study are to determine the adequacy of the facility for current and future needs within a framework of art gallery best practice, and to develop the facility needs that will support the Gallerys vision for the next 25 years. This Functional Analysis and Plan is therefore based on an inclusive planning process and research on art gallery planning and precedents, to ensure that the facility space needs meet the community and program objectives.

2.0 Consultation Objectives and Methodology

In June 2011, consulting team member Jenny Ginder consulted with artists, program partners, educators, local government of cials, members, volunteers, Board, and staff, as an important rst step in the process of understanding the potential opportunities for, and uses of, the AGP. This consultation list was prepared by AGP and 50 individuals participated in the roundtable discussions and focus groups. This consultation process was followed by a public survey developed by the consultant in consultation with the AGP Steering Committee. The survey was in the eld for approximately ve weeks, from mid-July to mid-August, and promoted through the City and AGP web-sites, via e-mail to the AGP database, verbally at events and meetings, in addition to hard copy surveys available to Gallery visitors.

Summary of Findings

Operational Findings: Consultation indicated a demand for exhibitions from the collection and by local artists, whereas the survey favoured touring exhibitions of work by Canadian artists. Painting is the preferred medium. Those familiar with the collection suggest that digitizing the collection will facilitate curatorial research and practice, and open the doors to more outreach and education opportunities. There is a demand for adult lecture programs and demand for more children/youth programs is indicated (although the survey sample is small). The gallery shop should continue to focus on work by local artists in a location that attracts more traf c.



Lundholm + Ginder + Lett1 November 2011iv


Facility Findings: Consultation indicated that the building is not fully accessible and that the circulation is not coherent. There are many technical de ciencies including poor acoustics in the gallery and inadequate HVAC systems. Use of the ramps for exhibitions received mixed reviews, but there was general recognition that this is a compromise.

Comments were received on the limited amount of exhibition space and the lack of appropriate space for media based exhibitions. Inadequate space was also noted for collections, preparation, of ces, and shipping/receiving.

Consultation highlighted the inadequate nature of programming spaces too small, poorly lit and equipped, and serving as circulation routes. Comments were also received on the absence of adequate areas for receptions, openings, and rentals.

3.0 Research Objectives and Methodology

The purpose of the comparative analysis of other art gallery facilities is to provide a broad view of what kind of art gallery facilities and visual arts programs are available in other comparably sized cities. Of particular interest was the scope of exhibitions and programs offered, as well as the type and size of collections, and the scale of facility used. The rst component of the research was developed as a statistical comparison of galleries in regionally scaled cities in Canada. A second component of research identi ed some of the different architectural approaches to art gallery facilities to enable the Art Gallery of Peterborough Staff and Board to further articulate its objectives for the future facility image and identity. Finally a third component of the research looked at three qualitative aspects of comparable galleries: (a) galleries that are creative in relating to and involving their creative communities, (b) galleries that have devised creative ways of generating revenue, and (c) recent gallery expansions that have been judged successful.

Summary of Findings of Comparative Analysis of Other Gallery Facilities

Art Gallery of Peterborough Signi cantly Undersized Compared to Other Galleries Studied;Particularly Size of Exhibition Gallery.

In comparison to other galleries in comparably sized cities or regional centres across Canada, the Art Gallery of Peterborough is doing as much as possible to offer a similar level of services and programs. Many of the galleries reviewed have a very similar intention of being a cultural centre for the visual arts in their region, and offer a similar range of programs and services such as exhibitions, childrens programs, lectures, lms, courses, and resources for artists and for post secondary students in visual arts related programs. The majority of the galleries in the sample group were also working with a similar collection scope and mandate (Regional, Canadian, and Contemporary) and were designated as Category A institutions.

Although many of these galleries are in the process of developing improved facilities, of the galleries in the sample group, the Art Gallery of Peterborough is working with one of the smallest facilities, and speci cally the smallest size of exhibition gallery space. It is only logical that the limited facility also limits the extent to which the Gallery can develop its programs and services, and the number of visitors that can participate in these.

EXECUTIVE SUMMARY





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Approach to Facility Improvement and Expansion Will Impact Gallery Image and Identity; Many Recent Gallery Facility Improvements Have Simultaneously Raised Public Pro le of Art Gallery

Factors that affect the image and identity of an art gallery facility include both the approach to the facility and the orientation and setting of the building.

The Southern Alberta Art Gallery, the MacLaren Art Centre, the Art Gallery of Hamilton, and the Gardiner Museum of Ceramic Art are all examples of recent facility expansion and upgrade projects that have had a positive impact on facility operations and the public pro le of the organization.

Regional Art Galleries are Increasingly Creative in Broadening Their Base Communities and Generating Independent Revenue Sources

Increasingly, regionally scaled art galleries in comparably sized Canadian cities are developing new and creative ways of being local cultural centres for the visual arts and providing opportunities for creative development to diverse communities. The increased level of services offered by these Galleries is matched with creative initiatives to develop independent sources of nancial revenue that re ect an increased and dedicated community base for the gallery.

4.0 Functional Analysis

The purpose of the functional analysis of the existing building is to provide an understanding of the ability of the Art Gallery of Peterboroughs building to meet the operational needs of the Gallery. The Gallerys operational needs may be classi ed broadly in three categories: spatial needs (quantity of space), qualitative functional needs (suitability of space for a particular kind of activity), and technical needs (building envelop or systems performance according the required standards for a particular activity).

Summary of Findings Facility De ciencies and Limitations

While there are some qualitative aspects of the Art Gallery of Peterborough building that are appreciated, such as its location in a park, the height of the exhibition gallery space, and the view of Little Lake from the Gallery lounge, the building has several critical de ciencies that put the Gallerys collection at risk, frustrate current operations, and severely limit improvement or development of what the Gallery can offer to the public.

The Gallery organization has maximized the use of the building to every extent possible and this approach has reached its limit. Inspection and analysis shows that while the Gallery facility offers approximately 5500 square feet of usable functional space, the current organization makes use of considerably more area for its programs and services, by improvised use of circulation and marginal spaces.

Collections and Exhibition PreparationThe Gallerys collection facilities (storage, preparation, and exhibition spaces) are not large enough nor adequately serviced to appropriately reduce the risk of damage to its art collection from over-crowding, temperature and humidity uctuations, ooding, re, and security. Additionally, the exterior loading dock lacks overhead weather protection.

EXECUTIVE SUMMARY



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These issues are of speci c concern for an art gallery facility with a Category A designation from Canadian Heritage. Failure to work progressively towards improvement of these facilities may put the Art Gallery of Peterborough at risk of losing this designation, which would prohibit it from issuing receipts for certain tax incentives to collection donors, and from applying for certain types of grants and loans.

ExhibitionsThe exhibition space is undersized and inadequately serviced. Meeting speci c technical requirements in the exhibition gallery space is part of the AGPs responsibility as a Category A institution and can be an impediment to receiving loans and exhibitions from other galleries. The lack of enough exhibition space limits the AGP's ability to exhibit travelling shows from other institutions, multi-media exhibitions, and a larger proportion of its permanent collection. The capacity to offer a more diverse range of exhibitions would be a signi cant cultural bene t to the citizens of Peterborough and the region.

ProgramsThe size, con guration, and inadequate servicing of public program spaces prohibit the Gallery from creating accessible art programs for standard school group capacities (30 and 60 children) and sustainable adult programs including courses, lectures, and events. The lack of quality program spaces prevents the AGP from ful lling its objective to be a leader in community arts education.

Visitor ServicesThe reception lobby and visitor amenities, including the gift shop, are not well con gured or large enough to accommodate either a standard school class, an adult group tour, or more than three to four families at any given time. Additional space that meets the diverse needs and expectations of todays society are required to make the Gallery a welcoming and memorable place.

Technical IssuesAccording to a recent building audit, the heating ventilation and air conditioning (HVAC) system is in need of replacement, and Gallery staff understand that the system is not adequate for its current visitor numbers and does not meet current gallery standards. Lighting systems in the building have been identi ed as outdated and energy inef cient. There is no overhead sprinkler system to reduce the risk of catastrophic re, and the security system also requires assessment. Flooding along the east wall of the Gallery is a concern in extreme weather.

Building Orientation in Immediate ContextThe Art Gallery of Peterborough is not well integrated in its local context as a public destination in one of the Citys major outdoor amenities.

These building de ciencies will ultimately limit the extent to which the Gallery can achieve the roles and initiatives for exhibitions, education, community leadership, and socio-economic development that it has targeted in its recent Three Year Strategic Plan.

EXECUTIVE SUMMARY





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5.0 Facility Needs Assessment

One of the primary outcomes of this Study is an understanding of the scale and nature of the accommodation that is needed to allow the Art Gallery of Peterborough to ful ll its mandate. The preceding parts of the Study provide the indicators for what is needed. The consultation process both highlights the de ciencies of the current building and provides guidance for future priorities. Comparison with other galleries points out that the AGP facility is among the smallest for comparable cities and identi es interesting examples of what small regional galleries are doing to engage with their communities. The functional analysis provides a clear, detailed understanding of how the building falls short in meeting the needs, but also identi es positive attributes where they exist.

Overriding objectives for the future AGP facility include:

Achieve a strong visual image for the AGP that signals public art gallery as a prominent presence in the community.

Create a gallery building that is welcoming and accessible, with amenities and character that make it a comfortable destination.

Include public gallery spaces that support and enhance the widest range of media and installation formats, and facilitate ef cient exhibition turnovers.

Plan for a main lobby that begins a coherent visitor experience with good orientation and access to all the public destinations, and contributes to special events and uses.

Rationalize all movement of visitors, staff, and art, while respecting security and ef ciency considerations.

Build a suite of back-of-house spaces that supports the safe and ef cient movement of art, facilitates preparation of exhibitions, and provides for processing, access, and storage of collections.

Meet generally accepted professional museological standards in all aspects of the facility, and, in particular, meet the expectations of the Category A designation as well as the requirements of other institutions for loans and exhibitions.

Space Requirements

Based on the consultation, functional analysis, and comparative studies, a statement of space requirements is presented in this section. The following comments describe how the primary space sizes were determined.

A. Visitor ServicesSpaces in this group are scaled to a reasonable expectation of visitor ow. The lobby at 900 sf is suf cient to handle arrival of a tour or school group and permit orientation and circulation to all of the public destinations. It is also suf cient for smaller openings and events. The gift shop is sized to permit a variety of art media from local artists to be advantageously displayed.

A restaurant or caf was mentioned as desirable in the consultation inputs. Experience in smaller Canadian galleries is generally that it is very dif cult to make food service operations nancially sustainable. For this reason, a dedicated food service operation has not been included at this time. This can be reconsidered in the future, particularly if the location changes.

EXECUTIVE SUMMARY



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B. Exhibition GalleriesThe size of the changing exhibition gallery at 3,000 sf is a minimum threshold for medium size travelling exhibitions and, when combined with the other galleries, will accommodate large shows. The permanent collection gallery at 2,000 sf will permit the ongoing representation of the collection in curated shows or a larger portion of the collection salon style. The solo gallery/project room at 1,200 sf will accommodate one-person shows, and installations involving audio-visual media. Together, the gallery space would bring the AGP into a comparable position with other galleries studied.

C. Programming SpaceThe studio program is supported by two interconnected studios of 600 sf each. These studios can accommodate two school groups (one school bus) simultaneously, or adult classes of 20.

A lecture/ lm/ events space has been included at 1,275 sf. This space will accommodate 100 persons for a lm or lecture, 64 for a sit-down dinner, or about 150 for a reception. Combined with the lobby, the capacity for openings will be over 200. A library/meeting room of 400 sf can function as a lounge/library during the day.

D. Collection StorageThree separate vaults have been provided to allow for the different media to have appropriate environments and storage xtures. The quantity of space should allow relief of over-crowding, removal of art storage from other spaces, and accommodation of growth. A workroom is provided to avoid excessive staff presence in the vaults. A further detailed collection assessment should be undertaken to verify the space allocations.

E. Exhibition PreparationA dedicated shipping/receiving space is provided to facilitate incoming and outgoing exhibitions without encroachment on other spaces. A workshop is provided for matting and framing. Spaces are also provided for quarantine and registration.

F. Administration and Building ServicesThese spaces are provided and sized according to prevailing practice.

The total net space requirement is 17,450 sf. This applies regardless of whether the existing building is renovated and expanded or a new facility is developed. This represents a 94% increase over the existing space usage.

Please Note: Area gures express net functional area: true net space devoted to each function measured to inside face of de ning partitions or boundaries. Internal circulation within exhibition spaces and aisles / manoeuvering space in collection storage spaces are counted as part of the functional area. Otherwise no circulation, building structure, or building service space is counted as functional area.

EXECUTIVE SUMMARY





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Space Group Existing Occupied Area Required Area

Space Name sf sm sf sm

A Visitor Services 985 91.5 2,000 185.8

B Exhibition Galleries 3,643 338.4 6,380 592.7

C Programming 1,320 122.6 3,480 323.3

D Collection Storage 764 71.0 1,900 176.5

E Exhibition Preparation 812 75.4 1,380 128.2

F Administration / Services 1,488 138.3 2,310 214.6

TOTAL NET AREA 9,012 837.2 17,450 1,621.1

EXECUTIVE SUMMARY

Functional and Technical Requirements

The report identi es extensive functional and technical requirements which should be taken into account in future accommodation planning. See sections 5.2, 5.4, and 5.5 for speci cs.



Lundholm + Ginder + Lett1 November 2011x


6.0 Recommendations

Facility Improvement Needed

Based on the ndings from consultation, comparison with other galleries, and analysis of the existing facilities it is evident that the current facilities do not meet the needs of the community. The building is too small, limiting the public programs and services the Gallery is able to offer. The inadequate space and technical de ciencies compromise the safety of the collection and make it virtually inaccessible. The building is a signi cant impediment for the Gallery to ful ll its mandate and develop the full potential of its relationship with and service to its community.

The recommendation of this study is that the City of Peterborough, in cooperation with the Art Gallery of Peterborough, seek improved accommodation for the Gallery either through renovation and expansion on its current site, or at another location.

Facility Requirements Articulated

The scale of the needed accommodation is in the order of 17,450 square feet (1,620 square meters) of net useable space. To achieve this net area would require a building with a gross area of about 25,000 square feet (2,400 square meters).

The accommodation must meet the functional criteria as well as the technical requirements presented in this report. The technical considerations are important in order that the AGP can maintain its Class A designation, as well as meet the requirements of other institutions for loans and travelling exhibitions.

Feasibility Study Needed

The current study is primarily a needs assessment. Neither study of the potential of renovating and expanding the present building, nor investigation of other sites, was within the current terms of reference. A detailed feasibility study is required to determine the potentials, limitations, technical issues, and cost of expansion/renovation. Similar investigation would be required for other sites for comparative purposes.

EXECUTIVE SUMMARY





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1.0 INTRODUCTION

1.1 Purpose of the Study

The Art Gallery of Peterborough is a well-established public art gallery that serves the community of Peterborough and the surrounding region. It is an anchor for the arts in its community and serves the public by offering a wide variety of exhibitions, educational programs, and events. Since 1974, the Gallery has been dedicated to exhibiting and collecting contemporary works of visual art from Peterborough and across Canada. The Gallerys vision going into the 21st century is to be a gathering place that engages the community and promotes the arts as a cornerstone of community creativity and development. The Art Gallery of Peterborough has a signi cant collection comprising approximately 1,500 historical and contemporary art works.

The purpose of the Functional Analysis Plan is to test and con rm community consensus with the Gallerys long term vision (as expressed in the Strategic Plan) and to develop the programmatic and facility requirements for its achievement. In addition to the recently developed Strategic Plan that will be a key source document for community consultation, the Gallery has also undertaken a building audit that will facilitate the functional analysis of facility needs. The objectives of the study are to determine the adequacy of the facility for current and future needs within a framework of art gallery best practice, and to develop the facility needs that will support the Gallerys vision for the next 25 years.

It is important that the vision for the future Art Gallery of Peterborough is conceived and supported by the organizations staff and related stakeholders. This Functional Analysis Plan is therefore based on an inclusive planning process and research on art gallery planning and precedents, to ensure that the facility space needs meet the community and program objectives.





1.0 INTRODUCTION

1.2 Study Methodology

The project work was undertaken according to the four phases de ned in the Request for Proposal.

Phase 1.0: Background Phase

1.1 Document Review The full Consultant Team reviewed all relevant documents, such as those identi ed in the RFP (Strategic Plan, Building Audit, Little Lake Master Plan, Municipal Culture Plan, Central Area Master Plan, Of cial Plan, and Transportation Plan), with particular attention for mention of strategic objectives that may relate to the Art Gallery of Peterborough. The Consultant Team also reviewed background documents speci c to the Art Gallery (vision statements, program and service plans, and collection related documents).

1.2 Project Start-Up MeetingThe Consultant Team met with the project Steering Committee for a start up meeting to review the working hypotheses for the long-term functional requirements of the AGP. The meeting served to hear input on, and adjust, the proposed project schedule and methodology as needed, clarifying any issues arising from the document review, and reviewed the proposed approach to consultation. Communication paths and approvals for each phase of the project were reviewed. For this meeting, the Consultants generated a list of Class A art galleries in similarly sized cities to begin the identi cation and planning for the review of comparable facilities in Phase 3.0.

The project start-up meeting was followed by a review of the existing facility and the Gallerys long-term vision and objectives with the project Steering Committee. This served to inform the functional analysis of the building, consultation on the facility needs, and the future meetings on the development of the study.

Phase 2.0: Consultation Phase

Fundamental to this project is the desire by the Art Gallery of Peterborough for a full and comprehensive consultation with a variety of stakeholders such as artists, community organizations, civic leaders, business interests, and Gallery members. Hearing the perspective of a wide range of voices is an important rst step in the process of understanding the potential opportunities for, and uses of, the Gallery.

The consultation was focused on obtaining information that will inform all aspects of the functional analysis plan, including:

how the community currently uses the Gallery and to what extent the existing facilities meet the current needs;

whether the facilities are aligned with the vision, roles, and initiatives identi ed in the strategic plan; and

clarity on the Gallerys future functional requirements.

The speci c methodology for consultation was determined in collaboration with the Project Steering Committee. The following methodology was employed.





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1.0 INTRODUCTION

2.1 Four Roundtable Meetings Working with the Art Gallery of Peterborough Steering Committee, the Consultants scheduled, organized, and facilitated round table meetings with the following stakeholder groups:

1) The Board of Directors and Senior Staff. The focus of this meeting was to understand the full Boards and the Citys vision for the Gallery. In

particular, the long-term strategic priorities and the core programming vision were discussed. The ndings from this meeting with the Board were crucial to establishing consensus on the objectives for the study and the Gallerys future. This served as a starting point for the subsequent consultation with the broader community.

2) Local and regional artists

3) Members and volunteers

4) Programming partners and other arts organizations

2.2 Twelve Stakeholder InterviewsThe Consultants scheduled, prepared, and undertook twelve individual meetings with a representative sample of stakeholders, including City Councilors, City staff, artists, and local business interests.

List of those consulted and interview format are included in the Appendix.

2.3 Public SurveyA public survey was used to round out general input for the study. The survey targeted visitors, members, volunteers, artists, and arts organizations. The survey explored to what extent the existing spaces within the facility are meeting the current and future needs of the arts community. The purpose was to capture input from the wider arts community and the general public that may not have been represented in the round table meetings. The survey also tested visitor perspectives and satisfaction with physical aspects of the building, and sought to identify any gaps in the visitor experience.

The survey was conducted using Survey Monkey back-end technology. The survey was promoted and distributed through mainstream media, the Gallerys membership mailing list, a link on the Gallerys Facebook group page, and a computer terminal set up in the Gallery lobby. The survey period was approximately ve weeks.

Interview guides and survey questionnaires were developed for each of the above consultation methods.

Phase 3.0: Review of Similar Facilities Comparative Phase

3.1 Identi cation of Galleries for Review and Analysis FrameworkComparative research of Canadian museum and gallery organizations was conducted to give context and enable comparison with the Art Gallery of Peterborough.

The case study research investigated the following parameters: gallery history, governance, funding sources, building siting, facility size and layout, capacities of public spaces, climate/environment, collection storage and processing facilities, visitor statistics, programs, staff levels, and budget(s).





1.0 INTRODUCTION

3.2 Preparation and Consultation with Similar FacilitiesA structured interview format was used for written and telephone interviews. Interview questions were sent in advance to allow gallery representatives time to prepare information and seek release permissions as required.

3.3 Draft Summary of Consultation FindingsFindings from the interviews were documented and summarized according to the speci c areas of interest to the Art Gallery of Peterborough. A draft summary of ndings was circulated to the Steering Committee prior to Interim Reporting on Internal and External Consultation and Review of Similar Facilities.

Information was consolidated in three categories:

1. Statistical Comparison of Thirteen Selected Galleries2. Comparative Review: Architectural Image / Identity3. Issue Based Case Studies

Phase 4.0: Facility Analysis / Needs Determination

4.1 Analysis of Existing FacilityIn this rst step of facility analysis, the Consultants conducted several on-site visits to the Art Gallery and walked through each part of the Gallery with respective staff, to gain understanding of the current dif culties and limitations of the facilities for day-to-day operations. These visits paid particular attention to the needs for storage and care of the collections. The Consultants also held a preliminary programming meeting to review current programs and discuss the Gallerys future vision as it relates to facility needs.

4.2 Development of Facility Requirements The Consultants then facilitated a workshop with the Steering Committee, to develop a draft of the facility needs to meet the aspirations of the Gallery for the next 25 years. This workshop reviewed the impact of the Gallerys future vision for programs and services on facility needs, and the development opportunities that exist for consideration. The Consultants sought consensus on an ideal functional model of spaces and spatial relationships, and a list of spatial requirements, from the Steering Committee

4.3 Re nement of Proposed Facility Requirements / Review of Issues and OptionsA nal workshop was facilitated by the Consultants to review the tentative space needs analysis drawn from the previous work. The ideal functional model clearly delineates public and non-public space in the future facility, and the spatial relationships of different operational zones required for security and public safety. Implications of different facility developments will be discussed, including the potential for phased implementation of the plan. The Consultants facilitated a discussion of critical issues related to growth of the organization. Feedback from the Steering Committee was sought and adjustments made.





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2.0 CONSULTATION FINDINGS

2.1 Consultation Objectives and Methodology

In June 2011, consulting team member Jenny Ginder consulted with artists, program partners, educators, local government of cials, members, volunteers, Board, and staff, as an important rst step in the process of understanding the potential opportunities for and uses of the AGP. This extensive consultation included 12 interviews, meetings with the project Planning Team, the Board of Directors and staff, and three focus groups. In total, 50 individuals were involved in the consultation from lists prepared by the AGP. The ndings from the consultation follow, and a consultation list is included in the Appendix.

This consultation process was followed by a public survey developed by the Consultant in consultation with the AGP Steering Committee. The survey was in the eld for approximately ve weeks, from mid-July to mid-August, and promoted through the City and AGP web-sites, via e-mail to the AGP database, verbally at events and meetings, in addition to hard copy surveys available to Gallery visitors. The survey was formatted such that the answer options for each question were randomized to reduce any selection bias by the respondent. The survey ndings are reported at the end of this chapter.






2.2 Findings: Stakeholder Consultations

Local Context: Life in Peterborough

Participants spoke highly of the quality of life in Peterborough, with several observing that the City is not too close to Toronto, which has contributed to the growth of a strong local artistic scene and community identity. Some pointed to studies that demonstrate Peterborough is not a bedroom community, but a City where residents live, work, and play. Looking to the future, they question whether the Citys distinctive attributes will be retained with the encroaching development from the west, the proposed extension of Highway 407, and the possibility of a direct train service.

They spoke of the importance of having Trent University and Fleming College in town, as well as a large proportion of artists and arts organizations in the region relative to population. The galleries, museum, symphony, theatre, and vibrant music scene were identi ed as providing a rich cultural offering to the public and making Peterborough a desirable community for retirees migrating from the GTA that are looking for to a cultural environment.

Looking ahead, the number of retirees and seniors is projected to be approximately one-third of the regional population in a decade.

Artistic Program and Facilities:

This section of the report is structured around the core programming activities: (1) exhibition; (2) collection; (3) education; and (4) other ancillary services. Within each program area, key facts are presented, followed by ndings from the consultation process.

The information presented represents the recurring themes that emerged across the consultation process.

(1) Exhibition

FactsThe AGP occupies a house dating to 1890 that is linked to an extension constructed in 1979. The Gallery has maintained its Class A federal designation under the Canadian Heritage Cultural Property Export and Import Act despite major challenges in its facilities.

The AGP has one formal gallery space and also uses wall space along the circulation ramps for exhibition purposes. The circulation ramps are de ned as the lower ramp, middle ramp, and upper ramp for exhibition purposes.

The main gallery is 1600 sf and the three ramps offer a combined total of 240 feet of running wall space.

There are typically ve exhibitions in the main gallery each year, primarily by Canadian artists from outside the region. The ramps typically exhibit work from the permanent collection and by local artists. There is frequently a thematic link between exhibitions on the ramp and in the main gallery.





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The number of artists represented in a typical year uctuates depending upon the nature of the exhibitions (e.g. solo show vs group show). The Gallery is committed to supporting the work of emerging, mid-career, and senior artists at both national and local levels. The following table demonstrates the number of artists represented over three years.

Table 1: Artists Exhibited

2010 2011 2012

Number of artists exhibited from Peterborough 9 7 55

Number of artists exhibited from other parts of Ontario 17 10 8

Number of Canadian artists from outside Ontario or Canada 0 1 14

Number of artists exhibited who are non-Canadian 1 1 14

Total number of artists exhibited 27 19 91

Exhibition Findings

Current SituationParticipants spoke highly about the quality of the AGPs exhibitions, the major artists that have been exhibited, and the Gallerys growing reputation in the art world. They say staff makes excellent use of the available space. They appreciate the height and volume of the main gallery, however, expressed concern at the gallerys acoustic properties, most noticeable during openings when the speakers cannot be heard. The thematic link between the ramp exhibitions and the main gallery exhibitions is noticed and effective, as is the practice of opening multiple exhibitions in the same evening, affording local and visiting artists with opportunities to connect, and broadening attendance for all.

Everyone wanted to talk about the ramps. There were some artists who spoke positively about the ramps as an exhibition area, noting that small two-dimensional artworks show well in the space. Some artists spoke excitedly about the challenge they enjoyed when creating a show for the ramps. Some interviewees almost have a fondness for them, perceiving them as an integral part of the AGP identity and experience.

The majority, however, believe that the ramps are a disservice to the artists and to the public. The downside of the ramps include: the viewer can get no distance or perspective on the work; the exhibitions are limited to two dimensions; poor lighting; and many visitors think of the ramp as a corridor, not a gallery. The rake is steep, making it very dif cult for people in wheelchairs. Overall, ramp exhibitions are perceived as demeaning to the work and offering a poor visitor experience.

Future OpportunitiesThere were many ideas put forward for opportunities to enhance the exhibition program. In terms of exhibition content, participants are keen to see the collection exhibited more effectively, local artists showcased more prominently, and opportunities to accommodate multi-media and multi-disciplinary exhibitions.






Several people spoke about the potential for a wider range of programming partnerships. They suggested there were opportunities to collaborate with performing arts organizations and venues, museums, and the library in new and innovative ways, with thematically linked programming that includes performances, displays, and exhibitions. In the same vein, several people said that the AGP should partner with everyone, holding events in the park as a core marketing strategy.

While some like the challenging nature of many of the exhibitions, there are those who noted that Peterborough is a relatively conservative community, and advocated for more 'crowd pleasing' exhibitions (sports, nature art), and for more shows by recreational and school groups that will attract larger crowds. These suggestions were tempered by comments by others that such shows have to be carefully considered so that the AGP brand and reputation for artistic excellence is not compromised. Some suggested that the AGP could possibly nd space within the annual calendar for such exhibitions, but not at the expense of exhibitions by professional artists.

Participants suggest that the AGP should have three exhibition areas. A large main gallery, a second gallery dedicated to rotating displays from the permanent collection, and a third smaller gallery that can be used for solo shows by local artists and group shows. It was recommended that the main gallery and third gallery be of a size to accommodate a variety of touring shows.

(2) Collection

FactsThe AGP has been collecting actively for almost 40 years and has amassed a collection of over 1,400 objects, including contemporary and historical paintings, drawings, prints, sculptures, photographs, mixed media works both Canadian and international in origin. There is an emphasis on works on paper, drawings, and prints.

The Gallerys collection policy, dated June 1983, provides that artists from this community and region be represented in the collection subject to consideration of quality and/or historical relevance. It also states that .....the basic direction of purchase acquisitions for this Gallery will be contemporary Canadian. The AGP has a modest acquisition budget and relies to a great extent on donated work.

Collection Findings

Current SituationMany of those consulted were unfamiliar with the size, scale, or relative importance of the collection and had little comment. At the other end of the spectrum were those that identify the collection as a very important, under-utilized, under-marketed asset. They spoke passionately about the importance of the collection as an educational resource, a repository for work by local and regional artists, and as inspiration for exhibitions that either stand alone, or complement exhibitions in the main gallery.

Everyone who had seen the vaults spoke of how crowded the space is, the dif culty in locating work, the intrusion of the collection into the shipping/receiving dock, and the lack of room for framing and exhibition preparation.





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Future OpportunitiesAmong those familiar with the collection, there was a sense that the AGPs collection policies are somewhat arbitrary and should be reviewed, especially in the context of this Functional Analysis. They suggested that a well-rounded collection would include bre art, sculpture, new media, and multi-media, and that the work of First Nations artists, regional artists, and Canadian artists from further a eld should all have a place.

They also wanted to see the permanent collection more prominently displayed on an ongoing basis in a dedicated gallery, noting that the larger works in particular do not show well on the ramps.

AGP staff and artist educators place signi cant importance on moving forward on digitizing the collection, which will greatly facilitate the use of the collection for exhibition and education. The collection could be publicly accessible on the AGP website with interesting facts about a selected number of the pieces, such as provenance, how acquired, and historical signi cance. It was noted that an on-line experience cannot replace the experience of visiting the Gallery, so the web presence would need to tease the viewer and draw them into the gallery. Fleming College indicated that students in the Museum Studies Program could help with cataloguing the collection as part of a structured internship.

There were some who questioned whether it was time for the AGP to examine the collection with a view to de-accessioning some pieces to free up resources of cash and space for future collecting.

One suggestion put on the table was that the AGP and the Peterborough Museum and Archives should jointly examine shared, off-site storage, to alleviate over-crowding at both institutions. Trent University Archives was identi ed as being in a good location with the best facilities. The AGP Director has commented that such a suggestion would be a reasonable solution to long-term storage for some of the collection, once it is digitized. Environmentally appropriate transportation of the art from storage to the Gallery would have to be explored.

(3) Education

FactsThe AGP offers a range of hands-on workshops and classes for children and adults led by paid professional artists. Programs range from one-day intensive workshops to multi-session classes.

Childrens camps are offered at March Break and through the summer, and Family Days are free and held once a month.

The school education program offers curriculum-linked studies and activities based on gallery exhibitions. Visits by school groups include an interpretive tour of the exhibition and a related hands-on workshop in the studio.

Adult education comprises studio classes, and talks by artists and the curator which complement the exhibitions in the main gallery. Programs for seniors, new Canadians, and adults with development disabilities are offered.

The Gallery has a kiln and two printing presses which are not in use due to lack of space.






Education Findings

Current SituationThe AGPs education and outreach program is widely viewed as one of the most important ways that the Gallery can serve its community and nurture the art lovers and visitors of the future. It is seen as affordable and accessible, and interviewees frequently noted that the childrens programs, in particular, provide an entry point for parents who might not otherwise cross the threshold.

Several commented on the limitations of the current education room. The room is too small to accommodate a school class of 30, requiring each class to be split into two groups, one working in the education room while the other is in the exhibition hall. While working with smaller groups can be bene cial, the logistics are complex when there is only one teacher and one AGP staff supervising 30 children in two different parts of the building. The room is not accessible and serves as an access route to other parts of the building.

Continuing cutbacks in funding within the education system make securing funds to bus students to the Gallery ever more challenging. It was noted that the stronger the link between the AGP program and the curriculum (especially literacy and numeracy), the easier it is to secure funds for the bus.

Future Opportunities There were a number of ideas put forward on how to grow the school education program. Within the theme of developing new partnerships, it was suggested that the arts institutions in the City could put together a comprehensive full-day experience that would justify the cost of the bus. Thus a half-day program at the AGP could be supplemented by a half-day at Showplace, a museum, or another cultural centre.

Alternatively, many suggested that the AGP should be developing a program to take into the schools. While all agreed that visiting the AGP was the ultimate goal, an opportunity exists to send trained artists into the schools with a program directly related to the AGPs exhibitions and collection. The ability of the artist to re the imagination of the children, through storytelling and digital pictures, that will instill in children the desire to see the art in person, will be important to the success of such a program.

There was some question about whether the AGP had the capacity to expand the existing roster of studio-based workshops and art classes, and whether there would be market demand for more, including programs using the kiln and printing presses. AGP staff suggests that by assigning additional tasks to the artist/teachers (e.g. room set up and clean up) expansion would be possible with the current staff level. Preliminary information on market demand should emerge from the public survey. The possibility of partnering with other cultural institutions for summer and March break camps was suggested and could be explored as part of a more thorough market analysis.

Some wondered if the AGP would be competing with artists offering classes in their studios, or the Art School of Peterborough, if the program were expanded. The general consensus was that education is a core element of the AGP mission, and that competition should not be an issue if the classes continue to be linked to the gallerys exhibitions and collection, and the dialogue about social and political issues that emerge through art.

There were consistent calls for more adult lectures, such as a series on art history or art appreciation that could be offered in the evenings or in a 'lunch and learn' format. These lectures could be delivered by the curator, visiting artists, or local artists.





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Participants stated that there is a lack of visual arts education for adults in the area, at both the recreational and professional level. Some artists noted that there is no longer a 'centre' for professional visual artists in Peterborough since the demise of the Peterborough Arts Umbrella, and questioned whether the AGP should ll this role.

A few people recommended that the AGP explore partnerships with Trent University on some lectures, speci cally those thematically linked to Trents cultural, Canadian, or aboriginal studies programs. This would be a natural way to draw more young people into the Gallery.

(4) Other Ancillary Opportunities and Spaces

Visibility While most are very happy with the Gallerys location, many spoke about the lack of visibility of the building from George Street. They pointed out that directional signage is very poor, and unless you know where the Gallery is located, you would not know where it was. Many commented on the potential for a greater public pro le through interventions such as signage, sculpture, or a welcoming entrance on the Del Crary Park facade, especially as the City expands the Waterfront Otonobee Trail behind the Gallery.

Gallery ShopThe gallery shop is viewed by many as an important part of the AGPs program and its relationship to and support of regional artists. It currently sells a selection of art, craft, and jewellery by local artists on consignment, as well as commercial merchandise sourced through trade shows.

The gallery shop is located in the original house, not readily visible to Gallery visitors. Some consultation participants suggested that the shops location is better suited as an exhibition space, and that the shop should be relocated. Regardless of location, participants generally believe that the gallery shop would see more business if it was in a higher traf c area.

Event VenueSeveral participants spoke of the need for a space within the AGP that was well suited to hosting gallery events such as lectures and openings. Some saw such a space as a potential revenue generator, with the park location making it a desirable venue for community and private events. Such an event space is seen as one way to strengthen the AGPs ties with other non-pro t community groups. Some suggested that one of the galleries could double as an event venue.

CafA caf is seen by many as an important attribute for an art gallery, a service for visitors and a destination in its own right. It is seen as a drawing card for group tours, and a place where informal lectures and artistic meetings can occur.






2.3 Findings: Public Survey

There were 139 completed surveys, although not all respondents completed all questions. Note that 'skip logic' was used so that Q4 was only presented to those who checked 'other' in Q3.

The rst four questions provide demographic information about respondents.

Q1How often in a typical year do you visit the AGP?

Answer Options Response Percent Response Count

Never 7.2% 10

1-3 45.3% 63

4-6 15.8% 22

7-10 6.5% 9

Over 10 25.2% 35

answered question 139

skipped question 1

Q2Which of the following age brackets do you fall within?


13 - 18 0.7% 1

19 - 25 4.3% 6

26 - 35 10.1% 14

36 55 32.4% 45

Over 55 52.5% 73


skipped question 1

Q3Are you a resident of:


City of Peterborough 66.2% 92

elsewhere in the Kawartha Lakes Region

27.3% 38

other 6.5% 9


skipped question 1





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Q4Approximately how far do you travel to visit the AGP?


up to 25 km 44.4% 4

26 50 km 0.0% 0

51 75 km 11.1% 1

over 75 km 44.4% 4

answered question 9

The following two questions required respondents to select their rst, second and third choices and a rating average was applied to the responses.

Q5Which of the following types of exhibitions are the most appropriate for the Art Gallery of Peterborough? Please select your top three choices.

exhibitions by students and local amateur artists

group show by local professional artists

solo exhibition by a recognized local artist

exhibitions drawn from the AGP's own collection

touring exhibitions of work by Canadian artists

0.00 1.00 2.00 3.00

Q6What type of art do you think the AGP should be exhibiting? Please place in order of priority.

sculpture

drawing

multi-media

painting

0.00 0.50 1.00 1.50 2.00 2.50 3.00






Q7Are you interested in attending any of the following artist's talks or lectures? Please check all that apply.


talks by local artists 60.7% 74

talks by visiting exhibiting artists 82.0% 100

art history lectures 59.0% 72

other 17.2% 21


skipped question 18

Q8Are you interested in participating in any of the following studio-based adult programs? Please check all that apply.


ceramic classes 22.5% 20

printmaking classes 37.1% 33

drawing classes 39.3% 35

painting classes 51.7% 46

photography/digital media classes 41.6% 37

other 25.8% 23


skipped question 51

Q9Are any children or young people in your family interested in participating in any of the following children/youth programs. Please check all that apply.

Answer Options Age: 6 - 10 Age: 11 - 13 Age: 14 - 18 Response Count

painting classes 10 6 4 17

drawing classes 7 7 6 16

photography/digital media class 6 5 7 15

sculpture classes 7 5 4 14

mixed media classes 7 5 2 12

other 17


skipped question 116





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Q10Which of the following best describes the AGP's external visibility and presence:

Answer Options Excellent Good Fair Poor Response Count

visibility/presence from George Street 27 38 40 24 129

visibility/presence from Del Crary Park 32 54 22 20 128

visibility/presence from Little Lake 28 51 25 21 125


skipped question 10

Q11Which of the following best describes the Gallery entrance:


easy to nd 74.5% 98

hard to locate 19.2% 25

don't know 5.4% 7


skipped question 10

Q12Would you be more likely to visit the Gallery if there was an entrance from Del Crary Park?


yes 8.3% 11

no 67.4% 89

maybe 24.2% 32


skipped question 8






Q13What products would you like to see in the Gallery shop?Respondents were also requested to identify their rst, second and third choice, and the rating average was applied. There was also a text box where respondents could identify other items they would like to see in the Gallery Shop. There were 18 comments, the majority of which identi ed art books as a desirable product for the shop.

general gift merchandise

art by local artists available for rent

art and ne craft by local artists for sale

0.00 0.50 1.00 1.50 2.00 2.50 3.00 0.00 0.50 1.00 1.50 2.00 2.50 3.00

Q14Would it be appropriate to create a special event room at the AGP that could be used primarily for AGP functions (lectures, receptions, openings)?


yes 88.3% 113

no 11.7% 15


skipped question 12

Q15How important is it that users of this special event venue have access to exhibitions in the galleries?


very important 48.8% 61

somewhat important 42.4% 53

not important 8.8% 11


skipped question 15





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Q16If resources were available for a renovation of the AGP, where do you think investment should be made? Please select your top three choices.

Answer Options First Choice

Second Choice

Third Choice

Average Rating

Response Count

additional exhibition space 57 18 19 2.40 94

studio space for art classes 25 25 17 2.12 67

more space for preparing exhibits, storage, and conservation of the collection

18 21 18 2.00 57

special event space (for AGP functions and public events)

12 30 25 1.81 67

caf 11 18 22 1.78 51

larger gallery shop and rental space 7 17 19 1.72 43


skipped question 10

The survey concluded with an opportunity for respondents to add any additional thoughts in an open ended comment box. 48 individuals, or 34% of respondents, took the time to add comments. These are found in the Appendix.






2.4 Summary of Findings

Operational issues:

Consultation indicated a demand for exhibitions from the collection and by local artists, whereas the survey favoured touring exhibitions of work by Canadian artists. Painting is the preferred medium.

Those familiar with the collection suggest that digitizing the collection will facilitate curatorial research and practice and open the doors to more outreach and education opportunities.

There is a demand for adult lecture programs and demand for more children/youth programs is indicated (although the survey sample is small).

The gallery shop should continue to focus on work by local artists in a location that attracts more traf c.

Facility de ciencies:

General Building is not fully accessible. Flow of the building is not coherent for staff or visitors Signi cant technical de ciencies

Exhibition Poor acoustic in the main gallery Limited exhibition space Ramps are a compromise No space for multi-media exhibitions

Collection Undersized storage for size of collection No space to layout the work: matting, framing, preparation, conservation Shipping/receiving should be separated from storage

Education Space is too small need to accommodate 30 students Nowhere to use kiln and printing presses Washrooms not near classroom particular problem for school groups No storage space for school groups

Events No rentable space





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Visitor Experience / Gallery Shop Entrance not clearly visible No caf Reception area too small for gallery shop - shop in wrong location No cloakroom

Administration Administration space inadequate No resource centre

Layout Flow is not coherent Access to storage in the garage is through the vault Building not fully accessible

Technical HVAC/ electrical/ re safety inadequate Boiler is above the vault Kitchen will not meet Citys new requirements for food preparation Education studio has no sink or exhaust

Exterior Limited access to park door locked. Poor visibility from parking lot Street frequently blocked off or inaccessible during festivals





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3.0 COMPARATIVE ANALYSIS OF OTHER GALLERY FACILITIES

3.1 Research Objectives and Methodology

The purpose of the comparative analysis of other art gallery facilities is to provide a broad view of what kind of art gallery facilities and visual arts programs are available in other comparably sized cities. Of particular interest was the scope of exhibitions and programs offered, as well as the type and size of collections, and the scale of facility used. The rst component of the research was developed as a statistical comparison of galleries in regionally scaled cities in Canada. A second component of research identi ed some of the different architectural approaches to art gallery facilities to enable the Art Gallery of Peterborough staff and Board to further articulate its objectives for the future facility image and identity. Finally, a third component of the research looked at three qualitative aspects of comparable galleries: (a) galleries that are creative in relating to and involving their creative communities, (b) galleries that have devised creative ways of generating revenue, and (c) recent gallery expansions that have been judged successful.

Statistical Comparison of Galleries in Comparably Sized Cities in Canada

All galleries included in the study are Canadian visual arts museums that are located in cities with populations between 20,000 and 150,000 people, according to the 2006 Canadian Census. Fourteen galleries were initially chosen as a sample group based on population and geographical locale. All information was gathered primarily from gallery websites and 2010 annual reports (if available), with the exception of the Art Gallery of Southern Manitoba, Art Gallery of Greater Vancouver, MacLaren Art Centre, and the Art Gallery of Peterborough. For these Galleries the consultants have drawn on previous case studies and recent projects. To identify or con rm any missing information not available through these sources, a brief follow up phone interview was scheduled with the appropriate staff at the gallery.

It is acknowledged that this research approach is not as extensive or thorough as a comprehensive interview with a staff member of each gallery, however, as galleries may vary slightly in how they achieve measures for both spatial area and visitor attendance numbers, improving the comparable accuracy of these gures would have entailed considerable time on the part of staff at other galleries. For this reason, these gures should be considered generally comparative.

The WKP Kennedy Gallery in North Bay was unable to respond to Consultants request for information on facility size and visitor statistics, and has not been carried forward in the research summary and the sample group is reduced to thirteen.

De nitions for Statistical Analysis of Comparative Galleries:

Demographics

Figures for Total Population, Median Household Income, and Median Age have been collected from the Statistics Canada 2006 Community Pro les (Statistics Canada website, 2011). The data was drawn from the Census Sub Division (CSD) City of-- pro les in order to create a set of data that comparably re ected the demographic context of the Galleries studied. These gures are from 2005/2006.






De nitions for these categories provided by Statistics Canada are as follows:

Total Population: This gure is based on 100% of Census data.

Median (before tax) Income (2005): Refers to the middle value in the census population of total income received during 2005 before tax by all persons in a household 15 years and older. Statistics re ect all family types (couple only, couple with children, and lone parent families).

Median Age: The median age is an age x, such that exactly one half of the population is older than x and the other half is younger than x.

(Source: Statistics Canada, 2011. Accessed on 06/09/11 at: http://www12.statcan.gc.ca/census-recensement/2006/dp-pd/prof/92-591/index.cfm?Lang=E )

Facility

Total Net Area: Functional area within the facility, not including circulation corridors and service areas such as washrooms. It should be noted that gures as much as possible re ect net area, however, these may be approximate when based on data made available by gallery staff.

Exhibition Area: Formal exhibition galleries with some degree of control over temperature, relative humidity, security, and UV light.

Program Area: Functional area dedicated to gallery programs. Typically refers to program studios run by the gallery.

Events / Rental Area: Dedicated and multipurpose spaces within the gallery that can host events. Can include informal exhibition gallery spaces that do not conform to formal gallery de nitions, as well as formal gallery spaces that are included in a regular rental program.

Community Gallery: Exhibition galleries distinguished from formal exhibition galleries by the status of the artists whose work is shown. Can include works from the studio program, gallery members, nonprofessional artists, and emerging artists. De nition of the community gallery is de ned by the institution and varies greatly.

Purpose Built: Gallery facility was built to function as a visual art gallery.

Heritage / Re-purposed: Gallery facility was renovated to function as a visual art gallery. The original facility may be a heritage structure or other type of building.

Mixed Use Complex: Gallery facility located within a larger complex that contains more than one use or tenant, such as another cultural facility, or a commercial, public, or residential use.





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Facility Ownership

City or Government Owned: Facility is an asset of a government agency or body

Gallery Owned: Facility is an asset of the gallery organization

Private Lease / Other: Facility is leased from private party or other arrangement

Collection

Number of Objects: Total number of collection objects under the care of the gallery. Can include collections from other organizations that are in the care of the gallery.

Mandate: Guidelines that govern the development of a gallerys collection. Can be broad, non-speci c, or related to the community that the gallery serves.

Scope: The collection scope tends to emphasize one or more themes that the collection hopes to illustrate. The collection may include contemporary, modernist, or historical works.

Professional Standards

Federal Designation Standing: Status of the Gallery as a designated facility (Class A), or not, according to the Canadian Heritage Cultural Property Export and Import Act

Visitor Numbers

Total Visitors: The sum of general visitors and school group visitors; statistics are from any of 2009, 2010 as the gallery has available.

School Group Visitors: Visitors whose attendance is organized by an educational institute. Their visitation may be part of a gallery program and may or may not include visits to exhibitions.

Af liations / Partnerships

Other established organizations that are closely af liated with the Gallery, and form partnerships for the purpose of sponsorship, membership building, programming, and events on an ongoing basis.

Status of Development

Planning: Gallery is currently planning for a future stage of development. Development may include a facility expansion, change of location, change of mandate or mission.

In Progress: Gallery is currently in the process of development. Development may result in a facility expansion, change of location, change of mandate or mission.

No Planning / Completed: Gallery is either not planning for future development because there is no need, or they have recently completed a development project. Development may have included a facility expansion, change of location, change of mandate or mission.






3.2 Findings of Statistical Analysis of Galleries in Comparably Sized Canadian Cities

The following is a summary introduction to each of the galleries studied and a list of sources for all data collected. These summaries help to indicate the range and diversity of the galleries studied and the respectively diverse communities they serve in spite of their parallel criteria as smaller galleries in regional cities. For example Victoria BC has a similar population to Peterborough, however the Art Gallery of Greater Victoria re ects the scale of a provincial capital in its collections and operations. In a different setting, the Tom Thomson Gallery in Owen Sound is situated in a considerably smaller community than Peterborough, but serves a similar number of visitors, presumably because it is located in a popular tourist region and presents the iconic collection of Tom Thomson.

These descriptions are followed by a written and tabular summary of statistical data gathered.

Southern Alberta Art Gallery (SAAG), Lethbridge AL

The mission and vision of the Gallery "fosters the work of contemporary artists who challenge boundaries, encourages broad public engagement and promotes awareness and exploration of artistic expression." Although the Gallery is not primarily a collecting institution, it has accepted a number of works into its collection that relate to the Southern Alberta region; it is also the custodian of the City of Lethbridge Fine Art Collection. In addition to its exhibitions, the Gallerys scope of programs includes classes and workshops, lms, lectures, educational programs for school groups, and guided art tours to other cities. The Gallery also features a visual arts resource library that is accessible to students, members, and the public.

The SAAG facility is city owned, and is a combined heritage building with a new expansion. The Gallerys recent new expansion includes a new multi-purpose gallery, upgrades to existing gallery spaces, and new visitor services and program facilities.

Sources:Art Gallery of Southern Alberta website: http://www.saag.ca/Art Gallery of Southern Alberta Annual Report 2010: http://www.saag.ca/user les/ les/2010%20SAAG%20annual%20report%20small.pdfTelephone Interview with David Farstad, Visitor Services Manager and Gift Shop Manager, 25/08/11.





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Kamloops Art Gallery (KAG), Kamloops BC

The mission of the Kamloops Art Gallery is to be the principal Gallery for the visual arts in the Southern Interior of British Columbia...the Gallery encourages participation in the visual arts through public programs, the research and development of exhibitions, the development of a permanent collection, publishing, and preservation of regional, national, and international art in all media. In addition to exhibitions, the international art in all media. In addition to exhibitions, the international art in all media.KAG offers the following range of programs: culture day and members, and special events; arts classes for children and the general community; and specially designed school programs. The KAG has a substantial visual arts library available as a public resource.

The Gallery was incorporated and of cially opened in 1978, and is governed by a Board of Trustees. In 1998, the Gallery moved into its current facility that is leased within a purpose-built multi-use civic complex.

Sources:Kamloops Art Gallery website: http://www.kag.bc.ca/default.htm2010 Annual Report: http://www.kag.bc.ca/docs/kag%202010%20annual%20report.pdfTelephone Interview with Dawn Vernon, Registrar, 2/09/11.

Vernon Public Art Gallery (VPAG), Vernon BC

The Vernon Public Art Gallery identi es itself as an important part of cultural tourism and a centre for educational and cultural activities in the North Okanagan. The Gallery is governed by a Board of Trustees, and has been in operation for 64 years, rst opening as the Vernon Art Association in 1951. In 1961, the City of Vernon turned over its permanent collection for storage and display purposes to the Association, and title of the collection was formally transferred in 1984. The Gallery organization has occupied several locations and is currently planning to relocate from its 6,000 sf facility in a mixed use building to a 16,000 sf purpose-built gallery facility. In addition to its program of changing contemporary exhibitions and displays in its community gallery, the VPAG offers a range of pre-booked gallery workshops and tours to school children and the public. The Gallery also offers monthly public programs, events, talks, and lm screenings.

Sources: Vernon Public Art Gallery website: http://www.vernonpublicartgallery.comTelephone Interview with Lubos Culen, Curator, August 16, 2011






Two Rivers Gallery, Prince George, BC

The Two Rivers Gallery strives to be a vital centre for visual art in Prince George and the central interior of British Columbia, Canada. The Gallery is run by the nonpro t Prince George Regional Art Gallery Association with a mission to encourage lifelong learning through the arts; to create an environment for vigorous artistic and cultural expression; and to provide opportunities for diverse experiences through participation and exhibition.

The Gallerys permanent collection was initiated in 1985, and the mandate of the collection is a focus on life and experience in the Canadian North-West. Today the Gallery hosts up to twelve contemporary exhibitions per year in two gallery spaces. Additionally, the Gallery offers family oriented Sundays and other hands-on events programs, school tours, artists talks, and lectures for university students, and studio classes for all ages.

The Prince George Art Society was established in 1949 and in 1969 operated an exhibition venue in a small donated house (Gordon Gallery). The Society incorporated as the Prince George Regional Art Gallery Association in 1971, and moved into a warehouse space. In 2000, the Gallery opened in a purpose-built facility located on a City-owned plaza across from a pool, civic centre, library, and hotel. The facility is city-owned.

Sources: Two Rivers Art Gallery website: http://www.tworiversartgallery.comTelephone Interview with George Harris, Curator, 16/08/2011

Kelowna Art Gallery, Kelowna BC

The Kelowna Art Gallery strives to be a leading public art gallery in the central Okanagan Region of British Columbia. The Gallery was incorporated as a not-for-pro t charitable society in 1977 and began its permanent collection at that time. The Gallery was housed in the Kelowna Centennial Museum until 1996, when it moved to a purpose-built gallery facility that is owned by the City of Kelowna. In addition to exhibitions, the Gallery offers adult and childrens art classes, special tours and events, booked school programs, and an ongoing lecture series.

Sources:Kelowna Art Gallery website: http://kelownaartgallery.com/about/history/Telephone Interview with Nateley Nagy 25/8/2011





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Art Gallery of Greater Victoria (AGGV), Victoria BC

The Art Gallery of Greater Victorias de ned mission is to be a public art museum dedicated to the celebration of art. With vision, leadership and scholarship, we will engage and inspire diverse audiences through exhibition, interpretation, and stewardship of the collection.

The AGGV has the largest public art collection in BC, and is committed to bringing art to life and providing the public with a wide range of experiences in the visual arts. In addition to changing and permanent exhibitions, special exhibition projects in the LAB, and virtual exhibitions, the AGGV offers adult programs that include regularly scheduled lectures, lm screenings, artist talks, demonstrations, and tours of current exhibitions. The AGGV offers family Sundays, special memberships for students, supports a Gallery in the Schools program across Vancouver Island, and offers childrens art classes.

The Gallery opened in 1951 in a historic mansion dating from 1889. From 1955 to 1978, an expansion was built adjacent to the house, and further upgrades were performed in 2001-2003. The house and building are owned by the AGGV organization.

Sources:AGGV website: http://aggv.ca/about AGGV Annual Report: http://aggv.ca/sites/default/ les/Annual%20Report%202010-2011%20-%20Final.pdfTelephone Interview with Janyce Ronson, Manager, Gallery Services, 16/08/11.

Art Gallery of Southwestern Manitoba (AGSM), Brandon, MB

The AGSM is Manitobas only public art gallery located outside of Winnipeg, and the only professional level visual arts organization in Southwestern Manitoba. The Gallerys mission is "to inspire community engagement through exhibitions, education, and events". The AGSM presents over 16 exhibitions per year in two exhibition spaces. The Gallery also offers school group programs for all age levels, and has an on-site ceramics studio that is used for community courses and by students at Brandon University.

The history of the Gallery dates to the founding of the Brandon Art Club in 1907, becoming further established in a permanent space in 1959. The current organization was unveiled in a new facility in 1989, and in 1996 the Gallery grew again with the transfer of the Manitoba Arts Councils collection to the AGSM for ongoing stewardship. The current AGSM facility is a purpose-renovated former department store, owned by the City of Brandon. The AGSM is currently undertaking planning phases for signi cant facility improvement work.

Sources:Art Gallery of Southwestern Manitoba Facility Improvement Feasibility Study, LAA (2011)






MacDonald Stewart Art Centre, Guelph ON

The MacDonald Stewart Art Centre is a regional gallery located in Guelph, on the University of Guelph Campus. The Gallery has a 30 year history, and is custodian of the University of Guelphs ne art collection. The Gallery is located in a renovated heritage school building. The Gallery presents approximately 15 changing exhibitions per year. In addition to exhibitions, the Gallery develops several community event day programs, offers monthly lectures, and exhibition based school tours for all age groups, adult tours. The Gallery has also offered adult studio courses in painting, and develops ongoing projects with the Universitys ne arts, music, and humanities programs.

The Gallery is governed by a Board of Trustees, and core staff are part of the University faculty. The Gallery has four primary nancial sponsors: the City of Guelph, the University of Guelph, the Upper Grant District School Board (building owner), and the County of Wellington.

Sources:University of Guelph website: http://www.uoguelph.ca/campus/map/msac/Telephone Interview with Aidan Ware, Coordinator of Education and Development, 29/08/2011.Telephone Interview with Verne Harrison, Coordinator 06/09/2011.

Tom Thomson Art Gallery, Owen Sound, ON

The Tom Thomson Art Gallery is a regional public ar

Art Gallery of Peterborough report Appendix A

Documents

Transcript of Art Gallery of Peterborough report Appendix A