rgac a portrait of the artist experience

Image Courtesy of RGAC and Eugene Bennett, A Life in Art

Rogue Gallery & Art Center: A Portrait of the Artist Experience

Prepared For

Frann Wolfe, President of the Board of Directors

Presented by

Ammi Kamhoot-Hartley

Sulaiha McDougall Gueye

In fulfillment of the requirements for

MBA 519: Graduate Research

In the Masters of Business Administration program for the

School of Business

Southern Oregon University

Under the Supervision of

Donna Lane, Ph.D


Associate Professor, School of Business

Mark Siders, Ph.D


Associate Professor, School of Business

Ashland, Oregon – June 12, 2012

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Executive Summary

Rogue Gallery & Art Center (RGAC), located in Medford, Oregon, has been a staple of

the local landscape since 1960. Established as a place where local artists could come together to

show and teach art, RGAC offers a wealth of classes for children, teens and adults, in addition to

ongoing exhibits and a variety of other services. Moving forward, the organization has outlined

three Strategic Pillars to guide their development: 1) Achieve organizational stability by building

the success of exhibition and education programs; 2) Broaden cultural influence by expanding

visibility, audience and education programs; and 3) Enrich community relationships through

strengthening and expanding community collaborations and partnerships.

This research was undertaken in collaboration between RGAC and Masters of Business

Administration students at the Southern Oregon University School of Business. The purpose of

the research was to gather feedback from those artists with a pre-existing relationship to the

facility to better understand the RGAC artist experience – establishing a snapshot of where the

organization’s Strategic Pillars currently stand, and how they can best be achieved in the future.

Data consisted of an email survey sent to constituents, and a review of current literature

on the topic of art organizations, their services and success. Analysis of the data resulted in

insights on customer interests, awareness, satisfaction, and participation at RGAC. Presentation

of the data, and analysis of the data, are followed by recommendations for how findings can

inform RGAC’s progress towards achieving the Strategic Pillars.

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Acknowledgement

We acknowledge and extend our gratitude to the Southern Oregon University School of

Business, especially Donna Lane, Ph.D., and Mark Siders, Ph.D., Associate Professors at the

Southern Oregon University School of Business for their guidance and support throughout the

duration of our research. We also graciously thank Frann Wolfe, President of the Board of

Directors at Rogue Gallery & Art Center, for her guidance and direction. We also extend our

gratitude to Rogue Gallery & Art Center, for entrusting us with their constituency, and allowing

our contribution to their organization.

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Contents Executive Summary ............................................................................................................................ ii

Contents ........................................................................................................................................... iv

Table of Figures................................................................................................................................. vi

List of Tables .................................................................................................................................... vii

Chapter 1: Introduction ......................................................................................................................1

Background and Need for the Study ....................................................................................................... 1

Problem Statement ................................................................................................................................. 2

Objectives of the Study ........................................................................................................................... 2

Chapter 2: Review of Related Literature .............................................................................................3

Attendance ............................................................................................................................................. 3

The Curator/Director Role ...................................................................................................................... 4

Partnerships ............................................................................................................................................ 4

Economic Niche and Financial Impact ..................................................................................................... 5

Community Outreach.............................................................................................................................. 7

Outreach through Advertising ................................................................................................................ 8

Creating an Attractive Community Atmosphere ..................................................................................... 9

Chapter 3: Research Design and Methodology .................................................................................. 10

Definition of Population Surveyed ........................................................................................................ 10

Research Design .................................................................................................................................... 11

Primary and Secondary Sources ........................................................................................................ 11

Survey Design .................................................................................................................................... 11

Construction of the E-Mail Survey .................................................................................................... 13

Key Individuals Furnishing Feedback for Survey Prototype............................................................... 14

Determination of Sample Size and Description of Sampling Method Used ...................................... 15

Validity and Reliability....................................................................................................................... 15

Limitations of Study .............................................................................................................................. 16

Chapter 4: Findings .......................................................................................................................... 18

Overview of Survey Findings ................................................................................................................. 18

Membership Standing ....................................................................................................................... 18

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Reasons for Attending RGAC ............................................................................................................. 18

Awareness and Interest in Services ................................................................................................... 21

Frequency of Participation in Services .............................................................................................. 25

Client Expectations ........................................................................................................................... 27

Effect of Atmosphere ........................................................................................................................ 29

Satisfaction with RGAC Services ........................................................................................................ 30

Community Expansion ...................................................................................................................... 32

Communication ................................................................................................................................. 33

Themes within Open-Ended Questions ............................................................................................. 33

Analysis of Findings ............................................................................................................................... 35

Statistical Analyses: Membership Standing and RGAC Interactions .................................................. 35

Cross-tabulations: Reasons for Attending and Frequency of Attendance ......................................... 38

Statistical Analyses: Interest, Awareness, Participation and Satisfaction.......................................... 41

Chapter 5: Conclusion and Recommendations .................................................................................. 45

Summation of Findings ......................................................................................................................... 45

Achieving Organizational Stability ..................................................................................................... 45

Broadening Cultural Influence and Enriching Community Relationships .......................................... 47

Recommendations ................................................................................................................................ 47

Improvements to Current Services ................................................................................................... 47

Marketing ......................................................................................................................................... 50

Community Expansion ...................................................................................................................... 53

Suggestions for Future Studies: ............................................................................................................ 54

Appendix A: Research Proposal ........................................................................................................ 56

Appendix B: IRB Form ...................................................................................................................... 58

Appendix C: IRB Exemption .............................................................................................................. 66

Appendix D: Email Survey (Initial) ..................................................................................................... 67

Appendix E: Email Survey (Reminder) ............................................................................................... 68

Appendix F: Survey Screenshot ......................................................................................................... 69

Appendix G: Survey Responses ......................................................................................................... 73

Appendix H: Open-Ended Questions ................................................................................................. 79

References ....................................................................................................................................... 85

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Table of Figures

Figure 1: Frequency of Participation in Core Services ................................................................. 27

Figure 3: Membership Standing: Awareness of Membership Benefits ........................................ 36

Figure 4: Membership Standing: Frequency of Visiting Exhibitions ........................................... 37

Figure 5: Membership Standing: Awareness of Workshops ........................................................ 37

Figure 6: Membership Standing: Participation in Workshops ...................................................... 38

Figure 7: Correlations: Exhibiting Artwork .................................................................................. 42

Figure 8: Correlations: Workshops ............................................................................................... 42

Figure 9: Correlations: Visiting an Exhibition.............................................................................. 43

Figure 10: Correlations: Lectures ................................................................................................. 43

Figure 11: Correlations: Boutique ................................................................................................ 44

Figure 12 Correlations: Professional Development Trainings...................................................... 44

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List of Tables Table 1. Reasons for Attending: Levels of Importance ................................................................ 18

Table 2. Question 2 (Reasons for Attending): Frequencies and Percentages by Item .................. 19

Table 3. Awareness of Services: Levels of Awareness ................................................................ 21

Table 4. Question 3 (Awareness of Services): Frequencies and Percentages by Item ................. 22

Table 5. Interest in Services: Levels of Interest ............................................................................ 23

Table 6. Question 3 (Interest in Services): Frequencies and Percentages by Item ....................... 24

Table 7. Meeting Client Expectations: Levels Expectations ........................................................ 27

Table 8: Question 5 (Meeting Client Expectations): Frequencies and Percentages by Item ........ 28

Table 9: RGAC Atmosphere: Applicable Feelings ...................................................................... 29

Table 10: Satisfaction with Services: Levels of Satisfaction ........................................................ 30

Table 11: Question 7 (Satisfaction with Services): Frequencies and Percentages by Item .......... 31

Table 12: Community Expansion: Proposed Ideas ....................................................................... 32

Table 13: Importance of Opportunity to Exhibit: Frequency of Exhibiting ................................. 38

Table 14: Frequency of Visiting Exhibitions: Importance of Visiting Exhibitions ...................... 39

Table 15: Workshops, Lectures, and Professional Development Training Frequency................. 39

Table 16: Lectures Frequency ....................................................................................................... 40

Table 17: Boutique Frequency ...................................................................................................... 41

Chapter 1: Introduction

Background and Need for the Study Since 1960, the Rogue Gallery & Art Center (RGAC) has worked to establish itself as strong

cultural resource for the local community. As the first non-profit visual arts center in the Rogue

Valley, founders Eugene Bennett and collaborating artists, educators and local leaders aspired to

bring contemporary art to the region by creating a place where local artists could come together to

show and teach art. RGAC’s mission is to enliven the individual and enrich the community through

inspirational visual art experiences.

Now located in the heart of downtown Medford, Oregon, the RGAC facility is host to a

wealth of classes for children, teens and adults, in addition to ongoing exhibits and a variety of

other services. The facility consists of three main areas of function: gallery space, studio space, and

a Boutique where fine crafts by local artists and artisans are merchandised for sale. The gallery

space is divided into two areas, a larger area for featured exhibits rotated throughout the year, and a

smaller space to display the works of RGAC contributing members. The studio workspace is open

for classes and workshops for various ages and interests, taught year-round by both local and

nationally recognized talent.

While RGAC is open to all, and admission to exhibits is free, financially contributing

members play an important part in supporting RGAC in their mission. Members receive additional

benefits for their backing, including: monthly ArtBlasts via email, preregistration privileges and

discounts for classes, access to the art leasing program, opportunities to show in the Members

Gallery and inclusion in the annual Members Exhibition.

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Problem Statement While RGAC has long been a staple of the local landscape, they continue to strive to

improve impact and visibility in the community. For guidance, the organization has outlined the

following three Strategic Pillars:

1. Achieve organizational stability by building the success of exhibition and education programs;

2. Broaden cultural influence by expanding visibility, audience and education programs; and

3. Enrich community relationships through strengthening and expanding community collaborations

and partnerships.

While these pillars provide good general guidelines, they lack the detail RGAC needs to

inform their efforts in achieving the stated goals. RGAC seeks to better understand what has

been accomplished and what remains to be accomplished with regards to the three Strategic

Pillars; this research aims to provide that understanding.

In addressing the first pillar, participants were surveyed to gather information on interest,

awareness, satisfaction and frequency of participation for all core RGAC services. In addressing

the second and third pillars, participants were surveyed to gauge their interest in community

expansion projects currently under consideration at RGAC, and to gather further suggestions for

possible future community outreach projects.

Objectives of the Study The purpose of this study is to develop a snapshot of RGAC’s progress within the

Strategic Pillars, and to determine what improvements, if any, could benefit RGAC in achieving

the stated goals. Research will be both primary and secondary, consisting of a strategically

designed survey and an expansive literature review. This research uncovers important

recommendations to influence RGAC activities both within and beyond facility walls.

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Chapter 2: Review of Related Literature

Attendance

Visitors of cultural and art centers are diverse, they include families, tourists, educational

groups, individuals, and various other social groups. While experiences with art and culture are

the main drivers of attendance, there are also those who come seeking opportunities for

entertainment and leisure, education, artistic inspiration, or even a chance to make a statement

about social status (Doering, 1995; Kotler, 1999).

Dependent on the types of services offered, visitors of arts centers may experience thrill,

excitement or relaxation, or find delight in aesthetic pleasures or intellectual discoveries.

Attendance depends on how well organizations provide these experiences, with more successful

organizations working to foster multiple experiences in a single visit. Services common to art

organizations include events, collections, exhibits, designed environments, programs/classes,

membership activities, shops, restaurants and interactive websites (Kotler, 1999). In order to

maintain or increase attendance, art organizations must understand audiences’ reasons for

visiting, and cater to those reasons through the services they provide (Doering, 1995; Kotler,

2010); as Kotler (2010) writes, “[S]ervices can be the foundation for satisfying experiences.”

Some of the largest challenges art organizations face are obtaining visibility, audiences

and resources, as well as dealing with obstacles of scale and location. Research can aid art

organizations overcome these challenges by providing a conceptual framework for understanding

visitor behavior as well as providing managers with measurement standards to assess

performance (Kotler,1999).

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The Curator/Director Role

Some art centers have a curator or director to coordinate organizational goals and

activities. This person may also be the owner. Curators/directors are expected to have a strong

artistic foundation to align the art gallery’s services with its mission and financial goals.

Additional duties include keeping current on industry trends and what other galleries are doing,

as well as possessing a creative and refreshing perspective to develop exhibit events and other

service themes (Hart, 2010).

Partnerships

As art organizations reach-out in their communities, new collaborations are found with

businesses, schools, and various other local organizations.

Many art organizations are reaching-out to local businesses with the introduction of art

leasing programs (Craig, 2004). They are targeting restaurant owners, property developers,

event coordinators, interior designers, board rooms, hotels, healthcare markets, law firms,

insurance companies, banks and financial institutions. Some art leasing programs give the

leasing client the option to sell the piece they are displaying to receive a commission, while

others give the client the option to the have the art changed-out on a rotating basis – keeping

public spaces artistically fresh. While the lessee enjoys surrounding themselves with fine art

without paying the price up front, the artist benefits from having their piece displayed in the

corporate or business setting, which can give the piece greater prestige and elegance than is

found in a gallery (Craig, 2004).

Art organizations are also increasingly partnering with community schools. Champions

of Change (1999) a report published by the President's Committee on the Arts and the

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Humanities, and the Arts Education Partnership features seven major studies exploring the

positive impact of arts on the academic behavior, thinking and lives of children. The studies

reveal that arts education outside of school enhances children’s sense of wellbeing and

accomplishment, and advocates that interaction with the arts must be a basic part of the

educational experience (Fiske, 1999). Additional studies reveal the relationship between

involvement in the arts and better academic scores, including for those from low socio-economic

status, as well as positive learning and language development in ‘at-risk’ youth – a pattern not

found for participants in community service or sports-academic initiatives (Brice Heath &

Roach, 1999; Caterall & Iwanago, 1999).

It’s not just young learners who benefit from involvement with the arts, however, older

adult learners benefit as well. A study by Stapleton (2009) showed that the act of artistic

expression helps alleviate the stress of daily life for older adults, positively influences the

functioning of the older adult memory, and provides important opportunities for positive social

interaction and emotional expression. Community arts programs provide a positive resource for

mind-stimulating activities that can help adults continue positive development, productivity and

fulfillment in later years of life (Stapleton, 2009).

Economic Niche and Financial Impact

Art and culture centers are often classified as part of the leisure and recreation industry.

Such industries are financially sensitive to the overall health of the economy, and have thus been

greatly impacted by the recent economic downturn (Slavin, 2010; Peterson, 2010; Winkleman,

2010; Risks Work, 2010). Funding for most art and culture centers comes both from visitors

engaging in various services and buying products, as well as external sources such as grants,

government funding, donations and membership fees and subsidies—all of which tend to decline

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in times of economic recession (Americans for the Arts, 2005; Kotler, 1999; Risk Work, 2010;

Slavin, 2010; Peterson, 2010; Winkleman, 2010; Risk Works, 2010).

Sales revenue and visitation levels tend to suffer as the public find themselves with less

in their pockets and purchasing artwork falls on the list of priorities. While the vast majority of

fine art is sold to individuals in the top three percent of income earners, these individuals too

become relatively conservative in their spending during difficult economic times. Galleries

selling higher-priced artwork suffer the most, as they fluctuate more closely with the economy

than those galleries selling modestly priced works. Those galleries offering free admissions are

likely to see a reversed trend, with visitation increasing rather than decreasing during difficult

economic times, as people seek affordable entertainment to lighten the mood and reduce the

stress (Peterson, 2010; Winkleman, 2010; Risks Work, 2010).

In the latter parts of 2009, gallery sales began to increase, as the economy showed signs

of improvement and those wanting to buy but resisting due to finical constraints were once again

able to indulge (Slavin, 2010). But even as economic conditions improve, advisors council

gallery owners to refrain from feeling a total sense of security in an industry so highly affected

by economic and seasonal fluctuations. Advisors also recommend that any additional profits

gained from recent increased sales and visitations be reinvested to make up for the recession.

They recommend the reinvestment take two forms: debt reduction to pay off or reduce any

incurred debt, and inventory replenishment to improve the quantity and quality of the artwork

offered. Simple touchups, but not a full remodel, can also be helpful in giving the gallery a fresh

look and inviting visitors who are ready to spend again. Galleries should take advantage of the

good times but always be prepared for another natural industry lull (Salvin, 2010).

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Community Outreach

Past research has proven the wide range of benefits that the arts offer, including the

ability to develop economies and revitalize communities (Mallonee, 2010; Hodgson, 2011;

Quinn, 2003; Fiske, 1999; Americans for the Arts, 2005).

The arts have been used in many ways to accomplish economic development and

community revitalization goals. Some have taken to creating high-profile, centrally located

facilities and events to attract tourists, while others focus on creating cultural districts for a

wealthy “creative class” (Mallonee, 2010). Critics argue, however, that such strategies cater too

much to tourists and the city’s affluent members while ignoring local needs and talents

(Mallonee, 2010). The greatest way the arts can impact their communities is not through large-

scale infrastructure developments, but through helping communities to understand context,

celebrate character, and create or reinforce a sense of place (Hodgson, 2011; Mallonee, 2010).

The most meaningful way arts organizations can help develop a sense of place, is by

taking a community cultural inventory (Hodgson, 2011). A community cultural inventory may

include such things as: demographic composition, architectural history, languages spoken, food

culture, unique customs, current landscapes, temporary markets and fairs, natural resources,

native plants, business and community signage, educational institutions, and anything else that

defines the community (Hodgson, 2011). The community cultural inventory is the foundation

for developing a sense of place and is necessary in a community’s ability and drive to envision

their own future (Hodgson, 2011; Mallonee, 2010). As Burrup (2006) writes, “[W]hen people

have a true sense of ‘ownership’ or connection to the spaces they inhabit, the residents’ feelings

of respect and responsibility bond them to the place and to each other” (Mallonee, 2010, p. 14).

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Art organizations must also be the curators of community identity because they have a

unique ability to embrace the changing cultural climate and character of a community – as the

narrative of place they create continually evolves and is able to balance past, present, and future

(Hodgson, 2011). The sense of place developed through arts organizations can then guide local

decision making, planning processes, policies, and regulations – encouraging development that is

place based and reinforces the cultural goals and vision of the community (Hodgson, 2011).

As an additional benefit, arts organizations provide opportunities for participation in

community life through festivals, events and performances, classes and workshops, and other

activities (Hodgson, 2011). In this way, local arts organizations can be thought of as “incubators

of civic culture and social capital,” places where people learn to be neighbors through public

engagement and recognition (Mallonee, 2010, p. 18). So while we once thought of galleries as

elitist “cathedrals of culture,” today cities look to their arts organizations as “town squares” –

places where people can gather and converse, sharing in the community’s culture with neighbors

(Dobrzynski, 2012; Mallonee, 2010).

Outreach through Advertising

As with most businesses, galleries need a strong marketing plan to communicate with the

public and ultimately build a broader audience (Winkleman, 2010; Kotler, 1999). In order to

best market to the public, galleries must understand the full range of benefits that can be derived

from their services, as well as the strengths and weaknesses of their services in delivering those

benefits (Kotler, 1999). The marketing plan should also be careful in its definition of audience,

as all too often galleries limit themselves with a narrow definition – focusing primarily on those

already interested in art. Such a narrow definition is detrimental, as traffic has been shown to

increase when galleries broaden the scope of their audience outreach (Winkleman, 2010; Hart,

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2010). The Baltimore (Md.) Museum of Art, Director Doreen Bolger states that "[S]ometimes,

we in the art world are too often doing things for those who already appreciate art and its

transformative power and not reaching out to new friends and allies" (Hart, 2010). A gallery

should be welcoming to all visitors. Educating audiences will help visitors develop an

appreciation for the arts, and will also demonstrate the gallery’s expertise in their service

(Winkleman, 2010).

A gallery’s marketing plan must also consider recent technological trends, and evidence

of how websites and social networking sites can help a business increase public awareness

through an active online presence. Social networking can be of particular value during tourist

seasons when people are looking for something new to do and updating on their experiences. The

internet is an inexpensive way for a gallery to connect with all types of audiences and showcase

what they have to offer (Winkleman, 2010).

Creating an Attractive Community Atmosphere

Recommendations for fostering public engagement stress the importance of always

keeping the gallery a lively and happening place. As the average visitor attends a gallery to

partake in current events and exhibitions, themes for these events and exhibitions must be

interesting and new, with very brief transition times in between. Galleries should “[t]hink outside

the box, and optimize the interest factor…to draw a crowd,” also keeping in mind that people are

more attracted to exhibits they can connect with – especially important when considering the

community’s different cultural groups (Dobrzynski, 2012; Winkleman, 2010). While galleries

should have a purpose and point of view defined within their mission statement, and ensure that

any services or offerings align with this mission, they should also be sure not be too limited in

their focus (Winkleman, 2010; Hart, 2010).

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Additional suggestions for community visibility and outreach include: partnering-up as

much as possible – with businesses, schools, local attractions and non-profit organizations;

getting involved with those art organizations in the community which are most lively and

energizing; and hosting community events, even if they are not directly related to art. All of

these strategies will help keep the face of the organization seen and active (Winkleman, 2010;

Hart, 2010).

Peterson (2010) recommends gallery’s concentrate on art walks as a key component to

their community expansion strategies. Art walks provide low-cost entertainment, making the

gallery and surrounding area enticing, and fostering a sense of local community. Scottsdale,

Arizona has become known internationally for its art-walks over the past last 30 years. The art

walks are heavily promoted and feature, live music, food and, of course, art. Each art-walk is a

unique experience that not only draws attention to the galleries, but to nearby restaurants and

businesses as well (Peterson, 2010).

Chapter 3: Research Design and Methodology

Definition of Population Surveyed

In this project, we were given the email addresses of constituents who had registered with

RGAC and defined themselves as “artist.” An e-mail survey was distributed to all listed

addresses. This list provided excellent access to our population of interest: artists who had a pre-

existing relationship with RGAC and would be able to provide feedback on the quality of their

interactions with the organization. The fact that these constituents had interacted with RGAC at

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various times, with varying frequencies and in varying respects, would provide robust insight

into the RGAC artist experience.

Research Design

It was determined by consensus that this survey would focus specifically on artists having

a pre-existing relationship to the facility, rather than attempting to reach new artists, or the larger

community as a whole. Consequently, this survey concentrates primarily on the services RGAC

currently provides, and the artists they currently serve.

Primary and Secondary Sources

The primary source for this research was an email survey sent to all those with a pre-

existing relationship to RGAC who defined themselves as “artist.” Secondary research included

a collection of current literature on the topics of art galleries and their roles and purposes.

Survey Design

Question 1 aimed to decipher the nature of respondents’ relationship to RGAC – as a

current member, past member, or ‘not yet a member.’ This question would allow us to segment

responses and give RGAC more focused information about how they are serving each of the

respective groups. This question would allow us to later explore correlations between

membership standing and other elements of the research (i.e. interests, awareness, frequency of

participation, and satisfaction for core RGAC services, as well overall satisfaction with the

organization).

The second question gave several possible reasons constituents might choose to attend

RGAC, and asked respondents to rate the importance of each item. This question would provide

RGAC with an understanding of constituent demands and expected experiences, and assure that

the organization’s resources are being allocated in accordance.

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Question 3 looked to discover constituents’ levels of awareness and interest for core

RGAC services. Information discovered here would provide the foundation for analyses of co-

relationships between interest, awareness, and information we would seek in later questions

regarding frequency of participation and satisfaction. Once again, this question would also

provide RGAC important information regarding the allocation of resources within the

organization.

Question 4 deciphered constituents’ frequency of participation in core RGAC services for

the reasons listed above.

The fifth question aimed to discover constituents’ level of satisfaction with various

elements of RGAC offerings. This question was designed to gain insight into reasoning behind

previously asked questions such as attendance and interest. These ratings would also give

RGAC meaningful feedback to elements of their offerings which may need adjusting to gain

greater artist satisfaction and attendance. Open space was also provided within this question for

respondents to offer further explanation or feedback.

The sixth question is related to the fifth, but focuses narrowly on the RGAC experience –

asking artists to identify all the ways they feel when at RGAC (i.e. inspired, ignored, welcomed,

limited etc.). This question would provide meaningful insight into the emotional experience

found at RGAC – extremely important to any organization that depends on voluntary attendance.

Continuing to seek understanding of the RGAC artist experience, Question 7 asked

respondents to rate their level of satisfaction with all core RGAC services. An open space was

also provided here, and asked respondents to express any improvements to the services that they

wished to see.

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Question 8 worked to negotiate between the client’s (RGAC) want to understand how

best reach the larger community, and the limitation of having to focus attention on a specific

target group (i.e. those with a pre-existing relationship to RGAC). In Question 8, constituents

were asked about their interest in various community outreach projects currently under

consideration at RGAC. An open space was also provided, and asked respondents to share

additional ideas about how RGAC could best serve and engage with the larger community. This

question would provide RGAC with information on the importance of community expansion to

constituents, as well as with additional ideas, before moving forward in their community

expansion endeavors.

The last question, Question 9, aimed to provide a point of reflection on RGAC’s

marketing efforts. Respondents were asked if they felt current on RGAC offerings, would like

more or less information, and their preferred method of receiving that information. (See

Appendix F for a full copy of the survey.)

Construction of the E-Mail Survey

The email survey was developed and formatted in conjunction with Survey Monkey

(www.surveymonkey.com), a fee-based service offering a range of flexible survey design

alternatives and handling of survey processes through links on their website. A sample survey is

included in Appendix F. The survey was developed to meet certain criteria, the survey was to:

Contain quantifiable data where possible and generate useful information;

Be constructed with an eye towards future research (compatible data formulas, etc.) in

order to accumulate & compare results over time;

Be generally appealing in appearance, to encourage response;

Be brief, to encourage response; and

Include an option for respondents to register in a drawing to win a free workshop at

RGAC as incentive for their participation.

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The email message (see Appendix D) was composed as a friendly and gracious call for

feedback, encouraging potential respondents to follow a link to the survey and provide their

input. The inclusion of incentive (“enter to win a free workshop of your choice at RGAC”) was

hoped to encourage respondents and tangibly reward one of them for their contribution. The

option to enter the drawing was explicitly alluded to in the email message itself prior to linking

to the survey. The message also stressed the brevity of the survey (“should take 5 to 10

minutes”) as further encouragement. A friendly reminder (see Appendix E), again with the link

to the survey, was sent 5 days after the initial sending and two days before the survey closed.

The reminder was able to garner an additional grouping of responses contributing to a total of

130 responses.

Key Individuals Furnishing Feedback for Survey Prototype

Donna Lane, Ph.D., Associate Professor and School of Business Chair, Southern Oregon

University

Mark Siders, Ph.D., Associate Professor and MBA Coordinator, Southern Oregon University School of Business

Frann Wolfe, President of the Board of Directors, Rogue Gallery & Art Center

In the development stages, this survey was reviewed by Donna Lane, Ph.D., Associate

Professor and School of Business Chair at Southern Oregon University, and Mark Siders, Ph.D.,

Associate Professor and MBA Coordinator at Southern Oregon University School of Business.

Their helpful feedback led to a number of changes, including changes to wording, scaling, and

the elimination of certain elements deemed unnecessary.

The survey was also reviewed by the client, Frann Wolfe, President of the Board of Directors

at Rogue Gallery & Art Center. Ms. Wolfe’s feedback was invaluable in both the early stages of

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development and again before release of the survey. It was after Ms. Wolfe’s first viewing of the

survey that questions concerning community expansion, elements of the Boutique, and elements

of artistic inspiration were added – all of which would become the basis for important findings.

Determination of Sample Size and Description of Sampling Method Used

The original list of potential respondents included 653 email addresses. In sending the

survey, 28 deliveries failed due to email verification; the resulting potential number of

participants was reduced to 625. We aimed to achieve a 15% response rate, or receive at least 94

responses. We determined a 95% confidence interval with a 7% margin of error would be

acceptable. In actuality, we achieved a 20.8% response rate (130 responses), with a resulting

confidence interval of 96% and a 6.5% margin of error.

Validity and Reliability

A survey to measure similar demographic and interest based data for RGAC was

conducted in earlier 2011 by undergraduate students from the Southern Oregon University

School of Business. Both this and previous research depended on the expertise and the oversight

of Donna Lane, Ph.D., Associate Professor and School of Business Chair at Southern Oregon

University, and Frann Wolfe, President of the Board of Directors at Rogue Gallery & Art Center.

Survey results were collected in two phases. Phase 1 included respondents who

completed the survey between the dates of May 8, 2012 and May 13, 2012, after the first email

survey was sent (see Appendix D). Phase 2 included those who responded between the dates of

May 13, 2012 and May 18, 2012 after the reminder email survey was sent (see Appendix E).

Comparison of these two groupings found no statistically significant differences.

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Limitations of Study

The client (RGAC) expressed great interest in gathering information to guide the

organization’s community expansion efforts and overall community presence. Given restrictions

of time and human capital, however, it was necessary to focus attention on a very specific target

population. Narrowing in on a specific population meant choosing between the current RGAC

constituency for which contact information was known, or any other number of previously

unexplored populations out in the larger community (i.e. art teachers at local schools, SOU/HEC

art students, local organization leaders, a random street sampling, etc.). Consideration was also

given to the fact that relatively little was known about those already involved with RGAC, aside

from the survey completed earlier in 2011 that provided mostly demographic information. With

these considerations, a consensus was drawn to focus attention on those artists with a pre-

existing relation to RGAC.

Because this survey focused on those constituents with a pre-existing relationship to the

facility, results are not generalizable to the wider community. Attempts to address RGAC’s

interest in overall community outreach was addressed through secondary research – an expansive

literature review from which many recommendations are derived. We hope this, in a small way,

compensates for the limitations of the survey in meeting the client’s larger needs and interests.

Finally, the intent of Question 3 was to measure respondents’ levels of awareness and

interest in core RGAC services. The section on interest asked respondents to rate their level of

interest in core RGAC services on a scale of: This does not interest me, I would consider it, I

want to be there, and N/A. While these statements were designed to help respondents easily

identify their enthusiasm, the highest percentage of respondents selected ‘I would consider it’ for

all items, with the exception of the upcoming exhibit (Eugene Bennett, A Life in Art). This

17

outcome seems to indicate that Question 3 may not have accurately measured respondents’

interest in core services as intended.

18

Chapter 4: Findings

Overview of Survey Findings

The survey was composed of nine questions and was sent out electronically to 653

individuals derived from an email listing. These individuals had previously visited RGAC and

defined themselves as “artists.” The questions sought both quantitative and qualitative data;

asking information about demographics, interests, awareness, satisfaction, and frequency of

participation. Open-ended questions were also provided to give participants the opportunity to

share personalized ideas and opinions. Of the 653 surveys sent, 625 were delivered successfully,

and 130 responses were received (a 20.8% response rate).

Membership Standing

Question 1 determined respondents’ membership standing as: a currently enrolled

member, a past enrolled member, or not yet a member. Of 128 responses, seventy-three (57%)

answered currently enrolled member, twenty- three (18%) answered past enrolled member, and

thirty-two (25%) answered not yet a member.

Reasons for Attending RGAC

Question 2 listed ten possible reasons for attending RGAC and asked respondents to rank

how important or unimportant they found each reason on a 5 point scale. Table 1 illustrates the

number of responses, means, and standard deviation for each item.

Table 1. Reasons for Attending: Levels of Importance

Item n M SD

1. Artistic development 120 4.11 0.99

2. Socializing and meeting new people 120 3.48 0.82

3. Networking 117 3.67 0.92

4. The opportunity to exhibit 120 4.18 1.07

5. Viewing exhibitions and artwork 115 4.48 0.73

19

Table 1. Reasons for Attending: Levels of Importance Continued

6. Purchasing artwork in the Boutique 116 3.13 0.99

7. Meeting and learning from exhibiting artists 117 4.04 0.91

8. Finding inspiration 118 4.09 1.00

9. Getting involved in the community 117 3.61 0.98

10. Supporting the arts 113 4.35 0.73

Scale: 1-Extremely unimportant to 5-Extremely important

As shown in Table 1, of the ten items presented in question 2, respondents (95.0%, 115)

attributed a high average importance to the item: viewing exhibitions and artwork. Many

respondents (93.4 %, 113) also attribute a high average importance to the item: supporting the

arts; respondents (99.2%, 120) also attributed a high average importance to the item: the

opportunity to exhibit. Respondents (95.9%, 116) attributed the lowest average importance to the

item: purchasing artwork in the Boutique. See Table 2 for all frequencies and percentages based

on levels of importance regarding question 2. The numbers in bold indicate the levels of

importance or unimportance with the highest frequency.

Table 2. Question 2 (Reasons for Attending): Frequencies and Percentages by Item

Item Ranking Frequencies Valid

Percentages

1. Artistic development 1 (Extremely unimportant)

2 (unimportant)

3 (Neutral)

4 (important)

5 (Extremely important )

Null (N/A)

2

6

12

52

47

1

1.7%

5.0%

10.0%

43.3%

39.2%

0.8%

2. Socializing and

meeting new people 1 (Extremely unimportant)

2 (unimportant)

3 (Neutral)

4 (important)


Null (N/A)

2

12

39

60

7

0

1.7%

10.0%

32.5%

50.0%

5.8%

0.0%

20

Table 2. Question 2 (Reasons for Attending): Frequencies and Percentages by Item Continued

3. Networking 1 (Extremely unimportant)

2 (unimportant)

3 (Neutral)

4 (important)


Null (N/A)

4

8

27

62

16

0

3.4%

6.8%

23.1%

53.0%

13.7%

0.0%

4. The opportunity to

exhibit 1 (Extremely unimportant)

2 (unimportant)

3 (Neutral)

4 (important)


Null (N/A)

5

3

10

45

56

1

4.2%

2.5%

8.3%

37.5%

46.7%

0.8%

5. Viewing exhibitions

and artwork 1 (Extremely unimportant)

2 (unimportant)

3 (Neutral)

4 (important)


Null (N/A)

2

0

4

44

65

0

1.7%

0.0%

3.5%

38.3%

56.5%

0.0%

6. Purchasing artwork in

the Boutique 1 (Extremely unimportant)

2 (unimportant)

3 (Neutral)

4 (important)


Null (N/A)

8

19

46

36

7

0

6.9%

16.4%

39.7%

31.0%

6.0%

0.0%

7. Meeting and learning

from exhibiting artists 1 (Extremely unimportant)

2 (unimportant)

3 (Neutral)

4 (important)


Null (N/A)

3

4

6

71

32

1

2.6%

3.4%

5.1%

60.7%

27.4%

0.9%

8. Finding inspiration 1 (Extremely unimportant)

2 (unimportant)

3 (Neutral)

4 (important)


Null (N/A)

4

4

17

45

48

0

3.4%

3.4%

14.4%

38.1%

40.7%

0.0%

9. Getting involved in the

community 1 (Extremely unimportant)

2 (unimportant)

3 (Neutral)

4 (important)


Null (N/A)

5

6

40

45

21

0

4.3%

5.1%

34.2%

38.5%

17.9%

0.0%

21

Table 2. Question 2 (Reasons for Attending): Frequencies and Percentages by Item Continued

10. Supporting the arts 1 (Extremely unimportant)

2 (unimportant)

3 (Neutral)

4 (important)


Null (N/A)

2

0

5

55

51

0

1.8%

0.0%

4.4%

48.7%

45.1%

0.0%

As indicated in Table 2, the majority of respondents attributed high importance to all

reasons for visiting. Larger proportions of respondents described shopping the Boutique,

socializing and meeting new people, and networking as neutral or unimportant.

Respondents (3.3%, 4) gave additional comments in the open space provided (See

Appendix H).

Awareness and Interest in Services

Question 3 asked respondents about their awareness and interest in core RGAC services.

Respondents were asked to rate their level of awareness on a scale of: No, I have not heard

about, I’ve briefly heard about, or I know all about. Table 3 illustrates the number of responses,

means, and standard deviation for respondents’ awareness levels for all items.

Table 3. Awareness of Services: Levels of Awareness

Item n M SD

1. Exhibitions 106 2.61 0.54

2. Classes and Interactive Workshops 102 2.57 0.57

3. Adult Classes 102 2.56 0.61

4. Artist Teen Mentoring Project 98 2.04 0.80

5. Youth Classes 96 2.21 0.65

6. Membership Benefits 101 2.29 0.68

7. Lectures 104 2.13 0.72

8. Boutique 104 2.66 0.53

9. Professional Development Training 102 2.02 0.76

10. Current exhibition 105 2.03 0.80

11. Upcoming exhibition 102 2.28 0.71

Scale: 1-No, I have not heard about to 3-I know all about

22

Respondents (94.5%, 104) reported high average awareness for the Boutique, (96.4%,

106) for exhibitions, and (92.7%, 102) for adult classes. Respondents indicated lower average

awareness for Professional Development Trainings, the current exhibition (Best of the Best), and

the Artist Teen Mentoring Project. As both Best of the Best (an art show for the area’s high

schools) and the Artist Teen Mentoring Project are youth related, lower average awareness may

be attributed to the fact that the minimum age requirement to participate in the survey was 18

years of age. See Table 4 for all frequencies and percentages based on levels of awareness

regarding question 3. The numbers in bold indicate the levels of awareness with highest

frequency.

Table 4. Question 3 (Awareness of Services): Frequencies and Percentages by Item


Percentages

12. Exhibitions 1 (No, I have not heard about)

2 (I’ve briefly heard about)

3 (I know all about)

3

35

68

2.8%

33%

64.2%

13. Classes and Interactive Workshops 1 (No, I have not heard about)



4

36

62

3.9%

35.3%

60.8%

14. Adult Classes 1 (No, I have not heard about)



6

33

63

5.9%

32.4%

61.8%

15. Artist Teen Mentoring Project 1 (No, I have not heard about)



29

36

33

29.6%

36.7%

33.7%

16. Youth Classes 1 (No, I have not heard about)



12

52

32

12.5%

54.2%

33.3%

17. Membership Benefits 1 (No, I have not heard about)



13

46

42

12.9%

45.5%

41.6%

18. Lectures 1 (No, I have not heard about)



21

48

35

20.2%

46.2%

33.7%

23

Table 4. Question 3 (Awareness of Services): Frequencies and Percentages by Item Continued

19. Boutique 1 (No, I have not heard about)



3

29

72

2.9%

27.9%

69.2%

20. Professional Development Training 1 (No, I have not heard about)



28

44

30

27.5%

43.1%

29.4%

21. Current exhibition 1 (No, I have not heard about)



32

38

35

30.5%

36.2%

33.3%

22. Upcoming exhibition 1 (No, I have not heard about)



15

43

44

14.7%

42.2%

43.1%

As indicated in Table 4, aside from low levels of awareness for youth and teen programs,

respondents also reported lower levels of awareness for membership benefits, lectures, and the

previously mentioned Professional Development Trainings.

After establishing respondents’ awareness of RGAC core services, respondents’ interest

in core services was established. Respondents were asked to rate their level of interest on a scale

of: This does not interest me, I would consider it, or I want to be there. Table 5 illustrates the

number of responses, means, and standard deviation for levels of interest in all items.

Table 5. Interest in Services: Levels of Interest

Item n M SD

23. Exhibitions 99 2.44 0.64

24. Classes and Interactive Workshops 94 2.04 0.70

25. Adult Classes 95 2.01 0.66

26. Artist Teen Mentoring Project 92 2.05 1.08

27. Youth Classes 96 2.13 1.22

28. Membership Benefits 92 2.38 0.86

29. Lectures 95 2.32 0.67

30. Boutique 97 2.20 0.79

31. Professional Development Training 96 2.23 0.79

32. Current exhibition 95 2.37 0.64

33. Upcoming exhibition 94 2.47 0.70

Scale: 1-This does not interest me to 3-I want to be there

24

Respondents (94.5%, 104), reported high average levels of interest in the upcoming

exhibition (Eugene Bennett, A Life in Art). Respondents (85.5%, 94) also reported high levels of

interest for visiting exhibitions. Despite low levels of awareness, respondents (86.4%, 95)

reported high interest for the current exhibition (Best of the Best). See Table 6 for all frequencies

and percentages based on levels of interest regarding Question 3. The numbers in bold indicate

the levels of interest with highest frequency.

Table 6. Question 3 (Interest in Services): Frequencies and Percentages by Item


Percentages

1. Exhibitions 1 (This does not interest me)

2 (I would consider it)

3 (I want to be there)

Null (N/A)

5

48

43

3

5.1%

48.5%

43.4%

3.0%

2. Classes and Interactive Workshops 1 (This does not interest me)



Null (N/A)

18

57

16

3

19.1%

60.65%

17%

3.2%

3. Adult Classes 1 (This does not interest me)



Null (N/A)

18

60

15

2

18.9%

63.2%

15.8%

2.1%

4. Artist Teen Mentoring Project 1 (This does not interest me)



Null (N/A)

35

33

8

16

38%

35.9%

8.7%

17.4%

5. Youth Classes 1 (This does not interest me)



Null (N/A)

41

27

3

25

42.7%

28.1%

3.1%

26%

6. Membership Benefits 1 (This does not interest me)



Null (N/A)

10

50

19

13

10.9%

54.3%

20.7%

14.1%

7. Lectures 1 (This does not interest me)



Null (N/A)

7

55

29

4

7.4%

57.9%

30.5%

4.2%

25

Table 6. Question 3 (Interest in Services): Frequencies and Percentages by Item Continued

8. Boutique 1 (This does not interest me)



Null (N/A)

17

49

26

5

17.5%

50.5%

26.8%

5.2%

9. Professional Development Training 1 (This does not interest me)



Null (N/A)

14

53

22

7

14.6%

55.2%

22.9%

7.3%

10. Current exhibition 1 (This does not interest me)



Null (N/A)

5

53

34

3

5.3%

55.8%

35.8%

3.2%

11. Upcoming exhibition 1 (This does not interest me)



Null (N/A)

8

37

46

3

8.5%

39.4%

48.9%

3.2%

As indicated in Table 6, large proportions of respondents answered “I would consider it”

for all items, with the exception of youth and teen programs which were ranked of lower interest,

and the upcoming exhibition (Eugene Bennett, A Life in Art) which was ranked of high interest.

The high proportion of “I would consider it” responses may show a resistance to commit on the

part of respondents, or poor wording which failed to successfully measure the variable of

concern (interest).

Frequency of Participation in Services

Question 4 asked respondents to identify the frequency with which they participated in

core RGAC services. For visiting an exhibition, of 107 respondents 1.9% (2) answered Never,

3.7% (4) answered not within the last 2 years, 13.1% (14) answered once in the last 2 years,

38.3% (41) answered 1-3 times/year, 18.7% (18) answered 4-6 times/year, 13.1% (14) answered

7-9 times/year, 8.4% (9) answered 10-12 times/year, and 2.8% (3) answered 12+ times/year.

26

For showing in an exhibition, of 109 respondents, 35.8% (39) answered never, 17.4%

(19) answered not within the last 2 years, 19.3% (21) answered once in the last 2 years, 25.7%

(28) answered 1-3 times/year, 0.9% (1) answered 4-6 times/year, 0.0% (0) answered 7-9

times/year, 0.0% (0) answered 10-12 times/year, 0.9% (1) answered 12+ times/year.

For attending interactive workshops, of 106 responses, 51.9% (55) answered never,

21.7% (23) answered not within the last 2 years, 11.3% (12) answered once in the last 2 years,

14.2% (15) answered 1-3 times/year, 0.9% (1) answered 4-6 times/year, 0.0% (0) answered 7-9

times/year, 0.0% (0) answered 10-12 times/year, 0.0% (0) answered 12+ times/year.

For attending lectures, of 106 responses, 43.4% (46) answered never, 21.7% (23)

answered not within the last 2 years, 17.9% (19) answered once in the last 2 years, 16.0% (17)

answered 1-3 times/year, 0.9% (1) answered 4-6 times/year, 0.0% (0) answered 7-9 times/year,

0.0% (0) answered 10-12 times/year, 0.0% (0) answered 12+ times/year.

For attending Professional Development Trainings, of 104 responses, 68.3% (71)

answered never, 15.4% (16) answered not within the last 2 years, 7.7% (8) answered once in the

last 2 years, 6.7% (7) answered 1-3 times/year, 1.9% (2) answered 4-6 times/year, 0.0% (0)

answered 7-9 times/year, 0.0% (0) answered 10-12 times/year, 0.0% (0) answered 12+

times/year.

For shopping in the Boutique, of 105 responses, 23.8% (25) answered never, 12.4% (13)

answered not within the last 2 years, 24.8% (26) answered once in the last 2 years, 26.7% (28)

answered 1-3 times/year, 7.6% (8) answered 4-6 times/year, 2.9% (3) answered 7-9 times/year,

1.0% (1) answered 10-12 times/year, 1.0% (1) answered 12+ times/year (see Figure 1).

27

Figure 1: Frequency of Participation in Core Services

Client Expectations

In Question 5, respondents were asked how well core RGAC services met their

expectations in regards to: value, scheduled times offered, pricing, effective use of time,

medium(s) of interest, studio use and layout, staff interactions, and community interactions.

Table 7 illustrates the number of responses, means, and standard deviation for each item.

Table 7. Meeting Client Expectations: Levels Expectations

Item n M SD

1. Value 104 2.02 0.81

2. Scheduled times offered 102 1.95 0.80

3. Pricing 104 1.99 0.75

4. Effective use of time 100 2.06 0.92

5. Medium(s) of interest 103 1.91 0.77

6. Studio use and layout 102 2.06 0.75

7. Staff interactions 108 2.30 0.93

8. Community interactions 98 2.14 1.01

Scale: 1-Does not meet my expectation to 3-Exceeds my expectations

28

As shown in Table 7, the statistical means indicate that respondents felt their expectations

were met in all respects. While there were no items that significantly failed to meet respondents’

expectations, a proportion of respondents (21.4%, 22) did answer that their expectations were not

met in the variable of mediums of interest; this was supported by comments made in open-ended

questions throughout the survey (see Appendix H). For Question 5, respondents (22.2%, 24)

gave additional comments in the open space provided. See Table 8 for all frequencies and

percentages based on how well clients’ expectations were met in regards to question 5. The

numbers in bold indicate responses with the highest frequency.

Table 8: Question 5 (Meeting Client Expectations): Frequencies and Percentages by Item


Percentages

1. Value 1 (This does not interest me)



Null (N/A)

13

65

15

11

12.5%

62.5%

14.4%

10.6%

2. Scheduled times

offered 1 (This does not interest me)



Null (N/A)

11

70

7

14

10.8%

68.6%

6.9%

13.7%

3. Pricing 1 (This does not interest me)



Null (N/A)

7

78

6

13

6.7%

75.0%

5.8%

12.5%

4. Effective use of time 1 (This does not interest me)



Null (N/A)

7

62

12

19

7.0%

62.0%

12.0%

19.0%

5. Medium(s) of interest 1 (This does not interest me)



Null (N/A)

22

60

13

8

21.4%

58.3%

12.6%

7.8%

6. Studio use and layout 1 (This does not interest me)



Null (N/A)

9

54

14

25

8.8%

52.9%

13.7%

24.5%

29

Table 8: Question 5 (Meeting Client Expectations): Frequencies and Percentages by Item Continued

7. Staff interactions 1 (This does not interest me)



Null (N/A)

10

48

39

11

9.3%

44.4%

36.1%

10.2%

8. Community

interactions 1 (This does not interest me)



Null (N/A)

6

53

17

22

6.1%

54.1%

17.3%

22.4%

Effect of Atmosphere

Question 6 asked how the atmosphere at RGAC made visitors feel. Respondents could

check all feelings that applied, including: welcomed, comfortable, encouraged, inspired,

liberated, passionat, connected to the art community, unwelcomed, uncomfortable, discouraged,

uninspired, limited, bored, and not connected to the art community. Respondents (14.3%, 15)

gave additional comments in the open space provided. 105 individuals responded to this

question. Table 9 indicates which feelings were chosen with the most frequency.

Table 9: RGAC Atmosphere: Applicable Feelings

Item n

1. Welcomed 83

2. Comfortable 73

3. Encouraged 47

4. Inspired 57

5. Liberated 18

6. Passionate 24

7. Connected to the art community 53

8. Unwelcome 8

9. Uncomfortable 6

10. Discouraged 8

11. Uninspired 9

12. Limited 18

13. Bored 9

14. Not Connected to the art community 13

15. Other (please specify) 15

30

The top reported positive feelings at RGAC were welcomed, comfortable, inspired, and

connected to the art community. The top negative feelings respondents indicated were limited

and not connected to the art community.

Satisfaction with RGAC Services

Question 7 asked participants to identify their level of satisfaction with core RGAC

services on a six point scale. Table 10 illustrates the number of responses, means, and standard

deviation for each item.

Table 10: Satisfaction with Services: Levels of Satisfaction

Item n M SD

1. Visiting an exhibition 104 1.81 0.90

2. Exhibiting personal work 103 2.39 1.40

3. Attending workshops 103 2.49 1.41

4. Attending lectures 102 2.41 1.30

5. Attending Professional Development Training 100 2.61 1.42

6. Shopping in the Boutique 101 2.20 1.10

Scale: 1-Extremely satisfied to 5-Extremely Dissatisfied

As shown in Table 10, respondents (94.5%, 104) expressed the most satisfaction with

visiting an exhibition, and general satisfaction across the board. See Table 11 for all frequencies

and percentages based on levels of satisfaction regarding question 7. The numbers in bold

indicate the levels of satisfaction chosen most frequently.

31

Table 11: Question 7 (Satisfaction with Services): Frequencies and Percentages by Item


Percentages

1. Visiting an exhibition 1 (Extremely satisfied)

2 (Satisfied)

3 (Neutral)

4 (Dissatisfied)

5 (Extremely dissatisfied )

Null (N/A)

37

52

7

1

3

4

35.6%

50.0%

6.7%

1.0%

2.9%

3.8%

2. Exhibiting personal work 1 (Extremely satisfied)

2 (Satisfied)

3 (Neutral)

4 (Dissatisfied)


Null (N/A)

15

28

22

5

4

29

14.6%

27.2%

21.4%

4.9%

3.9%

28.9%

3. Attending workshops 1 (Extremely satisfied)

2 (Satisfied)

3 (Neutral)

4 (Dissatisfied)


Null (N/A)

8

22

26

3

2

42

7.8%

21.4%

25.2%

2.9%

1.9%

40.8%

4. Attending lectures 1 (Extremely satisfied)

2 (Satisfied)

3 (Neutral)

4 (Dissatisfied)


Null (N/A)

5

29

28

0

1

39

4.9%

28.4%

27.5%

0.0%

1.0%

38.2%

5. Attending Professional

Development Training 1 (Extremely satisfied)

2 (Satisfied)

3 (Neutral)

4 (Dissatisfied)


Null (N/A)

4

15

23

3

1

54

4.0%

15.0%

23.0%

3.0%

1.0%

54.0%

6. Shopping in the Boutique 1 (Extremely satisfied)

2 (Satisfied)

3 (Neutral)

4 (Dissatisfied)


Null (N/A)

13

46

21

3

1

17

12.9%

45.5%

20.8%

3.0%

1.0%

16.8%

32

High percentages of respondents noted NA as their satisfaction level for the items:

exhibiting personal work, attending workshops, attending lectures, and attending Professional

Development Trainings. This may be explained by referencing Question 4, which asked

respondents to identify their frequency of participation in these services. In this question the

largest proportion of respondents indicated they had never participated in the items. Respondents

(12.3%, 13) also gave additional comments in the open space provided (See Appendix H).

Community Expansion

Question 8 asked respondents to indicate their level of interest in community expansion

projects currently under consideration at RGAC. The expansions included: collaboration with

local community organizations, special events tying to other Rogue Valley attractions, and

relevant films featuring artists beyond the Rogue Valley. The question also gave respondents the

option of selecting “I am not interested in additional services or events,” as well as space to

provide additional suggestions (See Appendix H). Respondents could mark all proposals that

interested them. Table 12 shows the number of responses for each item.

Table 12: Community Expansion: Proposed Ideas

Item n

1. Collaboration with local community organizations 52

2. Special events tying to other Rogue Valley attractions 58

3. Relevant films featuring artists beyond the Rogue Valley 50

4. I am not interested in additional services or events 19

The majority of respondents expressed high interest in all proposed expansions. This

sentiment was supported in Question 2 where a large number of respondents indicated that

community involvement was of importance or extreme importance.

Respondents (11.5%, 11) gave additional comments in the open space provided. Four of

the 19 respondents indicating they were not interested in additional services or events

33

commented in the open space that this was due only their physical inability to reach RGAC (See

Appendix H).

Communication

In question 9, respondents were asked if they felt current on RGAC events and offerings,

if they would like more or less information, and their preferred method of contact.

Of 95 responses, 84.2% (80) answered “Yes” to feeling current on RGAC events and

offerings, while 15.8% (15) answered “No” to feeling current on RGAC events and offerings.

Of 67 responses, 26.9% (18) answered wanting more information 4.5% (3), 64.2% (43) answered

wanting less, and 4.5% (3) answered wanting the same amount of information. For preferred

methods of contact, of 68 responses, 8.8% (6) answered mail, 86.8% (59) answered email, 0.0%

(0) answered phone call, 0.0% (0) responded text message, and 4.4% (3) responded Facebook.

Respondents (6.1%, 6) gave additional comments in the open space provided (see Appendix H).

Themes within Open-Ended Questions

Questions 2 (Reason for attending), 5 (Meeting expectations), 6 (Atmosphere), 7

(Satisfaction with Services), 8 (Community Collaboration), and 9 (Communication) provided an

open space for respondents for express additional comments (See Appendix H for full

commentaries). While not all responses were in direct relation to the question at hand, there were

dominant themes that could be identified.

Respondents expressed interest in expansion of the art community, and provided many

suggestions for how this might be done. One respondent stated, “I am looking for a highly

involved and socially evolved artistic offerings which are integrated with community, or

challenging [the] community.” Another respondent remarked, “As an artist, [and]

activist…community outreach is important to me on any level.” Additional respondents

34

commented: “I would like to see the RG widen its medium focus. i.e. more interaction with

music, poetry, dance, etc., I find this disturbing…[T]he perfect gallery for me would be one that

would be a place people would like to congregate for conversation, coffee, music along with the

visual arts;” and “I would like to see more call to artists, group shows with unusual themes,

shows benefiting a target community group, [for example, Dunn house, or the animal shelter, or

access, that would possibly get the general public interested in attending], fun art competitions

that get the community as well as artists excited, and shows featuring small affordable artworks

by a variety of artists that would enable the average person to start collecting his or her favorite

artist's work.” Additional comments included suggestions for collaboration with RCC and

Ashland art centers, as well as off-site classes in Grants Pass.

Some respondents expressed dissatisfaction in exhibiting themes and standards. One

respondent remarked, “I was disappointed that the member's show was a more limited scope than

last year - I don't paint food related items, so there really wasn't an opportunity for me to show

my work this past year.” A common complaint revolved around the selection and approval

process for gallery submissions; many attributed rejection to narrowly defined standards and

exhibits. One respondent remarked, “I feel a haughtiness, as if I didn't meet their criteria as a

person. Yes, I submitted work, and it was not accepted…”

Some respondents reported dissatisfaction in the mediums explored at the gallery. One

respondent remarked, “Too enmeshed in the usual. Would like a show on utilizing 'junk' to make

art.” Comments also included suggestions for more interactive and installation art, and a greater

balance between realistic and non-objective works. Respondents also expressed wanting to see

more mediums in classes and workshops.

35

Respondents also provided feedback on how core RGAC could be enhanced. Many

respondents commented that more meaningful interactions with staff could improve their

experience, while others commented that more training and better appreciation for volunteers

would be constructive. One respondent stated, “Over the past year or more the environment has

changed. Administration door is always closed, interactions are not welcoming. It seems cold

rather than vibrant, despite several obvious improvements to the physical space. I no longer feel

drawn in.”

Finally, there was as a significant portion of satisfied clients with many positive things to

say. Comments included: “The Rogue Gallery does an incredible job with all that it takes on;”

“All the hard work that the folks who are responsible for the running of RGAC is highly

appreciated;” “Grateful;” “[a] functional space with needed supplies and teacher;” “Fabulous

auto-emails that I receive really keep me in the loop;” and “When viewing high quality artworks,

I become inspired and enthused with ideas”.

Analysis of Findings

The statistical analysis included a series of correlations and analyses of variance

(ANOVA) run in Mini-Tab. Survey Monkey was also used to generate a series of cross-

tabulations. These analyses provided insightful information on the relationships and significance

of those relationships among surveyed variables.

Statistical Analyses: Membership Standing and RGAC Interactions

Data was run to investigate any differentiation in responses about awareness, interest,

satisfaction and participation that might be attributed to membership standing.

Membership Standing: Awareness of Membership Benefits

36

A visual inspection of the data suggested an interesting correlation: while currently

enrolled members made up 57% of survey respondents (Question 1), when asked about

awareness of membership benefits, the majority of respondents (45.5%) reported only having

“heard briefly about” (Question 2).

A One-way ANOVA was run to determine awareness of membership benefits among

currently enrolled members, past members and non-members. Resulting data showed a

statistically significant P value (less than 0.05), indicating a correlation between membership

standing and membership benefits awareness. As shown in Figure 3, past members know as

much or more as current members about membership benefits, while both past members and

current member know more than non-members.

Figure 2: Membership Standing: Awareness of Membership Benefits

low Awareness high

Levels: 1-Current Member, 2-Past Member, 3-Non-member

Membership Standing: Frequency of Visiting Exhibitions

A One-way ANOVA was run to determine frequency of visiting exhibits among currently

enrolled members, past members and non-members. Resulting data showed a statistically

significant P value (less than 0.05), indicating a correlation between membership standing and

frequency of visiting exhibits. As illustrated in Figure 4, current members visit exhibitions more

frequently than past members, and current members and past members both visit more frequently

than non-members.

37

Figure 3: Membership Standing: Frequency of Visiting Exhibitions

low Frequency high


Membership standing: Awareness and Frequency of Participation in Workshops

A One-way ANOVA was run to determine awareness and frequency of participation in

workshops among currently enrolled members, past members and non-members. Resulting data

for membership status and awareness showed a statistically significant P value (less than 0.05),

indicating a correlation between membership standing and awareness of workshops. As shown in

Figure 5, past members are more aware of workshops than current members, while both past and

current members are more aware of workshops than non-members. One effecting factor may be

the early-enrollment privileges and discounts members receive.

Figure 4: Membership Standing: Awareness of Workshops

low Awareness high


Resulting data for membership status and frequency of participation in workshops also

showed a statistically significant P value (less than 0.05). Data reveals that members attend

workshops more frequently than non-members. Past members exhibit a wide range of

participation ranging from more frequent than non-members and slightly more frequently than

current members (see Figure 6).

38

Figure 5: Membership Standing: Participation in Workshops

low Participation high


Cross-tabulations: Reasons for Attending and Frequency of Attendance

Cross-tabulations ran in Survey Monkey were used to analyze the relationship between

respondents’ stated reasons for attending (Question 2), and their frequency of participation in

related services (Questions 4).

Respondents indicated that showing in an exhibit was important and extremely important,

however most attendance was within the range of never to one to three times a year, with the

largest proportion of respondents (30.8% ,28) indicating they have never shown their work at

RGAC (see Table 13).

Table 13: Importance of Opportunity to Exhibit: Frequency of Exhibiting

Opportunity to Exhibit

Important Extremely Important

Response Count

Frequency of Exhibiting 41 48 89

Never 2 0

Not within the last 2 years

10

8

once in the last 2 years 8 10

1-3 times/year 11 14

4-6 times/year 1 0

7-9 times/year 0 0


12+ times/year 0 1

42 49 91

39

Table 14 shows respondents indicated viewing exhibitions was of importance. The

largest proportion of respondents (38.4%, 38) reported attending exhibits 1 to 3 times a year

(while exhibits rotate 8-10 times a year).

Table 14: Frequency of Visiting Exhibitions: Importance of Visiting Exhibitions

Visiting Exhibitions

Frequency of Visiting Important Extremely Important

Response Count

Never 2 0

Not within the last 2 years 1 3



4-6 times/year 6 13

7-9 times/year 3 10


12+ times/year 2 1

39 60 99

Table 15 shows the frequency of participation in workshops, lectures, and Professional

Development Trainings for those respondents who rated artistic development as important or

extremely important (Question 2). This analysis works under the assumption that artistic

development would be derived from these services.

Table 15: Workshops, Lectures, and Professional Development Training Frequency

Artistic Development

Frequency Attending Workshops Important Extremely Important

Response Count

Never 23 19



1-3 times/year 4 11

4-6 times/year 1 0

7-9 times/year 0 0


12+ times/year 0 0

46 40 86

Frequency of Attending in Lectures

Never 21 16



1-3 times/year 6 8

4-6 times/year 1 0

7-9 times/year 0 0

40


12+ times/year 0 0

47 41 88

Frequency of Attending Professional Development Trainings

Never 32 21



1-3 times/year 2 5

4-6 times/year 2 0

7-9 times/year 0 0


12+ times/year 0 0

45 40 85

As seen in the Table above, 42 (48.8%) of respondents who rated artistic development as

important or extremely important reported never having attended a workshops, 37 (42%)

reported never having attended lectures, and 53 (62.4%) reported never having attended

Professional Development Trainings. These results indicate a possible disconnect between

attributed importance and participation in stated services by constituents.

Table 16 examines frequency of participation in lectures for those respondents who

attributed importance or extreme importance to the item: meeting and learning from exhibiting

artists (Question 2). Of those respondents, 38 (42.2%) reported having never attend a lecture.

Table 16: Lectures Frequency

Meeting and Learning from Exhibiting Artists

Frequency of Attending Lectures Important Extremely Important

Response Count

Never 25 13



1-3 times/year 10 3

4-6 times/year 1 0

7-9 times/year 0 0


12+ times/year 0 0

60 30 90

Table 17 compares respondents’ frequency of shopping in the Boutique with the

importance attributed to the activity. While the majority of respondents rated shopping in the

41

Boutique as of neutral or unimportance (Question 2), the activity ranks second in participation

behind visiting an exhibition (Question 4). Of the respondents (39.2%, 41) who shop in the

Boutique one or more times a year (Question 4), 19 (34.5%) indicated it was neutral or

unimportant.

Table 17: Boutique Frequency

Purchasing in the Boutique

Frequency of Shopping in Boutique Unimportant Neutral Important Response

Count

Never 10 5 4

Not within the last 2 years 3 5 4

once in the last 2 years 1 12 8

1-3 times/year 2 15 8




12+ times/year 0 0 0

16 39 33 88

Statistical Analyses: Interest, Awareness, Participation and Satisfaction

Using Mini-tab, a series of basic statistical correlations were run to determine the relation

between elements of awareness, interest, frequency of participation and satisfaction for various

RGAC services, including: showing in an exhibition, visiting an exhibition, attending

workshops, attending lectures and shopping in the Boutique

In comparing awareness for exhibiting, interest in exhibiting, frequency of exhibiting,

and satisfaction with exhibiting; data shows positive correlations between all variables. The most

statistically significant correlation (less than .05), is between frequency and satisfaction.

42

Figure 6: Correlations: Exhibiting Artwork

Awareness Interest Participation

Interest 0.097

0.343

Participation 0.071 0.103

0.474 0.317

Satisfaction 0.137 0.164 0.231

0.253 0.192 0.047

In comparing interest in workshops, awareness of workshops, frequency of participation

in workshops, and satisfaction with workshops, all coefficients show a statistically significant

positive correlation. If participants are interested in workshops, they are also aware of

workshops, if they are aware of workshops they also attend, and if they attend they are satisfied

(See Figure 8).

Figure 7: Correlations: Workshops


Participation 0.263

0.012

Awareness 0.208 0.302

0.046 0.002


0.012 0.013 0.130

In comparing interest in visiting exhibitions, awareness of exhibitions, frequency of

visiting exhibitions, and satisfaction with visiting exhibitions, statistically significant correlations

are found between both awareness of exhibitions and interest in exhibitions with frequency of

visiting exhibitions. If participants are interested in exhibitions, they are aware, and if they are

aware they are more likely to attend (See Figure 9).

43

Figure 8: Correlations: Visiting an Exhibition


Interest 0.097

0.343


0.001 0.002


0.491 0.350 0.081

Comparison of interest in lectures, awareness of lectures, frequency of participation in

lectures, and satisfaction with lectures, indicates statistically significant correlations between

awareness and attendance, and interest and attendance. If participants are aware of the lectures,

they will attend, and if they are interested in the lectures they will attend. Satisfaction and

frequency of participation also show a positive correlation, indicating that the more frequently

respondents attend lectures, the more satisfied they become (see Figure 10).

Figure 9: Correlations: Lectures


Interest 0.034

0.748


0.001 0.014

Satisfaction 0.093 -0.179 0.447

0.481 0.194 0.000

Comparison of interest in the Boutique, awareness of the Boutique, frequency of visiting

the Boutique, and satisfaction with the Boutique, indicates a statistically significant correlation

between interest and frequency of visitation - if participants are interested in the Boutique, they

are more likely to visit the Boutique. Interest and frequency also show a positive correlation – if

participants are aware of the Boutique they are more likely to visit the Boutique. As a final

correlation, results show that the more aware, interested, and frequently participants visit the

Boutique, the more satisfied they become (see Figure 11).

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Figure 10: Correlations: Boutique


Interest 0.176

0.086


0.222 0.000


0.009 0.001 0.000

Comparison of interest in Professional Development Trainings, awareness of Trainings,

frequency of participation in Trainings, and satisfaction with Trainings, indicates a statistically

significant correlation between awareness and frequency – if participants are aware they are

more likely to attending. There is also a significant correlation between frequency and

satisfaction, indicating that the more frequently participants attend the trainings, the more

satisfied they become (see Figure 12).

Figure 11 Correlations: Professional Development Trainings


Interest 0.154

0.136


0.001 0.071


0.285 0.135 0.050

45

Chapter 5: Conclusion and Recommendations

Summation of Findings

Findings of the survey can be organized in accordance to their relationship with RGAC’s

Strategic Pillars as presented in Chapter 1:

1. Achieve organizational stability by building the success of exhibition and education programs;

2. Broaden cultural influence by expanding visibility, audience and education programs; and

3. Enrich community relationships through strengthening and expanding community collaborations

and partnerships.

Organizing findings under these Pillars will allow the survey’s contribution to RGAC’s

advancement towards these goals to be more easily seen.

Achieving Organizational Stability

The demographics of survey respondents (57% current members, 18% past members,

25% non-members) suggest the importance of member support for RGAC’s organizational

stability. Subsequent findings regarding these members’ interests, awareness, satisfaction and

participation are also important for RGAC to inspect in order to obtain the first pillar of

organizational stability.

Findings of the survey show that participant interests are in-line with the original purpose

of RGAC, as a place to learn and share art. Most important to artists were opportunities to

exhibit personal artwork, view exhibitions, find inspiration, and learn from exhibiting artists,

respectively. Findings also suggest the success of RGAC’s marketing efforts and resource

allocation, as artists showed highest awareness for those services they found most important. As

a point for inspection, findings showed that participants were less aware of youth related

46

services, including youth classes, the Teen Mentoring Project, and the annual high school

exhibition Best of the Best. In comparison, findings showed very high awareness and very high

interest for the upcoming exhibition at the time (Eugene Bennett, A Life in Art).

Perhaps one of the most important contributions to RGAC’s pursuit of the first Pillar is

the portrait of participation the research developed. Findings showed that while participants

were generally aware and interested in core RGAC services, this awareness and interest was not

translating to participation. While exhibiting personal artwork, visiting an exhibition, and

seeking artistic development ranked high in importance and awareness, related items showed that

the largest number of respondents had never participated – 35.8% had never showed their

artwork, 51.9% had never attended a workshop, 43.4% had never attended a lecture, and 68.3%

had never attended Professional Development Trainings. If these services are important to

respondents and respondents are aware these services are offered at RGAC, achieving the first

Pillar will require further efforts to ensure interest and awareness more strongly translate to

participation. On a positive note, while respondents did not report shopping at the Boutique to

be of great importance, findings showed that this activity was one of the most popular at RGAC

– ranking second to visiting an exhibition. This finding suggests that RGAC’s Boutique is an

important part of the RGAC experience.

For those who do participate in core RGAC services, findings showed that expectations

were met across the board. However, a large number of respondents (24%) did report the item:

mediums of interest did not meet their expectations. This sentiment also surfaced in comments

given in the open spaces provided throughout the survey. Many respondents encouraged RGAC

to expand their scope of mediums both in exhibitions and workshops.

47

When asked about the atmosphere at RGAC, a vast majority of respondents checked

those feelings with a positive connotation – welcome (79%), comfortable (69.5%), inspired

(54.3%), and connected to the community (50.5%). While very few checked those feelings with

a negative connotation, a notable proportion did report feeling limited (17.1%) – possibly a

reflection of the above mentioned dissatisfaction with mediums of interest. Some respondents

(12.4%) also reported not feeling connected to the art community, an item whose importance

continually resurfaced in the open spaces provided throughout the survey. The importance of

community connectedness to respondents was also prevalent in Question 3, where an

overwhelming majority expressed support of proposed RGAC community outreach and

expansion projects.

Broadening Cultural Influence and Enriching Community Relationships

As previously mentioned, respondents (56.4%) rated community involvement as

important or extremely important. This sentiment was strongly echoed in commentary offered in

open spaces throughout the survey. Findings also showed that many respondents (94.8%)

attributed importance or extreme importance to the item: supporting the arts, and when asked

about interest in proposed community expansion efforts, overwhelming interest was shown.

Cumulatively, these findings suggest that community outreach and expansion is of great

importance to the RGAC constituency, and that RGAC, in pursuit of the second and third Pillars,

will likely find great support.

Recommendations

Improvements to Current Services

Questions 2, 3 and 4 asked respondents to identify: 1) reasons for attending RGAC, 2)

interest in and awareness of core RGAC services, and 3) frequency of participation in core

48

RGAC services. For visiting exhibitions, and attending workshops, lectures, and Professional

Development Trainings, findings indicate that there is a direct correlation between awareness,

interest, and frequency of attendance. Correlations reveal that when respondents are both aware

and interested in a service, they are also likely to attend. Findings also indicate, however, that

the correlation is weak – while respondents are highly interested and highly aware, this interest

and awareness is not translating to high levels of participation. If these services are important to

respondents and respondents are aware these services are offered, RGAC must investigate and

explore how interest and awareness can better translate to participation. Some ideas may include:

Free Introductory Services with New Membership – considering 57% of survey

respondents were current members, yet 51.9% of respondents had never attended a

workshop, 43.4% had never attended a lecture, and 68.3% had never attended

Professional Development Trainings, RGAC may consider the financial feasibility of

offering complementary services with new memberships. Doing so would encourage all

new members, artist or not, to take advantage of the offer and try-out the array of

available services – ultimately becoming more involved in the RGAC community. In the

case that such a change was implemented, RGAC might also consider sending new

members invitations and reminders when the opportunity to use their complimentary

voucher(s) comes up.

Punch Cards or Point Systems – RGAC might further incentivize participation through a

reward or loyalty scheme. Such a scheme could apply to both members and non-

members. Points for each time the artist attends a workshop or visits an exhibit could

add-up to a workshop discount, a gift of choice from the Boutique, a base-sum for use at

the annual auction, or other exciting perks. The scheme could also potentially be used to

49

track and appreciate RGAC’s greatest supporters, or to award smaller supporters with

smaller gifts like RGAC t-shirts or coffee mugs.

More Pictures and Videos Please! – Workshop descriptions with pictures are nice for

web-site shoppers who may not be familiar with the advertised mediums and techniques.

RGAC might consider making the workshop section on the web-page a bit more robust

with links to videos and pictures of participants learning and doing the new technique

(much like on the RGAC Facebook page).

Respondents reported that the opportunity to exhibit personal artwork was of utmost

importance – rated as important or extremely important by 84.2% of surveyed artists, yet 35.8%

of the artists reported having never shown their work. Many expressed frustration and

disappointment that their pieces had not been accepted, and that they had failed to meet criteria

for exhibiting in the main gallery.

A Place Where All Artists Belong - RGAC may consider hosting an annual event with no

limiting criteria for acceptance, allowing all those who wish to exhibit a chance to show

their work. This event may be more informal than a standard exhibition and thus some of

the usual administrative burden could be alleviated (i.e. artists could bring their own

easels and ways of displaying). Such an event could be essential in assuaging feelings of

exclusion and rejection expressed by participants. RGAC may consider sending an

invitation to all those involved with RGAC requesting they “Please Come Show!” their

work. RGAC might also consider keeping track of all those who submitted work for

exhibition but were rejected, finding a way to reach-out to this population and re-invite

their participation. An open showing might also become an annual or seasonal meet-and-

greet, if not simply for all those connected to RGAC, than for all current members. The

50

meet-and-greet would be a fun opportunity for artists to mingle, network, show their

work, and feel part of a community – all positive feelings that could be generated from

RGAC.

A theme that surfaced from respondents was dissatisfaction in the handling of complaints.

Those who expressed dissatisfaction explained having complained with the intent to resolve the

issue and remain content at RGAC, however, once they experienced what they considered an

unsatisfactory handling of their problem, they expressed less enthusiasm in continuing the

relationship.

Client Satisfaction is an RGAC Priority – complaints are inevitable in the service

industry, therefore it is essential to find an excellent way of handling clients’ concerns

and maintaining healthy relations. RGAC should consider developing a system where

participants’ satisfaction levels are consistently gauged. Whether through comment cards

or inquiry by executive staff, participants must feel that their satisfaction is an RGAC

priority. If clients feel that their satisfaction is an RGAC priority, they we be more

inclined to share frustrations and ideas, and less prone to lend themselves to building

resentment.

Marketing

Findings about the Boutique proved interesting, while 56.1% of respondents rated shopping

in the Boutique as unimportant or of neutral importance, the item ranked as the second most

popular activity at RGAC next to visiting an exhibition. Of those respondents who rated

shopping in the Boutique unimportant or neutral, 39.2% reported shopping 1 or more times a

year.

51

An Important Part of the RGAC Experience – Techniques utilized in the Boutique have

proved successful, attracting onlookers despite attributed levels of importance. RGAC

should continue to value the Boutique as an important part of the RGAC experience.

RGAC might also investigate if there are any practices affecting the Boutique’s success

that are transferable to other services. (As an added note, secondary sources suggest the

importance of replenishing inventory frequently, and including a variety of showcased

pieces to attract buyers’ interests.)

Findings showed that participants were less aware of youth related services, including youth

classes, the Teen Mentoring Project, and the high school exhibition (Best of the Best) occupying

the main gallery at the time of the survey. In comparison, participants reported high levels of

awareness for the upcoming exhibition (Eugene Bennett, A Life in Art). While it is logical

respondents may have shown less awareness for these items due to the 18 years of age limit on

the survey, these programs are nonetheless essential elements to RGAC’s work, and it is

reasonable to consider the many children and family members of respondents who could be

served if awareness was improved.

Never Miss-Out on a Client – Considering low levels of awareness, RGAC should ensure

sufficient resources are allocated to the promotion of youth related programming. RGAC

should also ensure that these programs are being promoted to all those involved with the

organization, and not merely to those who appear an obvious candidate (i.e. teachers,

parents and children). One respondent wrote “I like the amount of info I get from RGAC,

I get info via email, Facebook, and the printed calendar and cards that are mailed out. I

feel like you do a good job reaching me - although exhibits that aren't featured seem to

slip past me, like the Teen exhibits. It could be you send them and I don't notice though.”

52

RGAC should also reflect on practices used to promote Eugene Bennett’s, A Life in Art,

and identify any practices that could be transferred to the promotion of other exhibits and

events.

Survey results indicated that supporting the arts was regarded important or extremely important

by 93.8% of respondents.

I Support the Arts, I Support RGAC! – To encourage participants in their enthusiasm for

supporting the arts, RGAC might consider helping their supporters to show-off this

interest. Bumper Stickers, T-shirts, Coffee Mugs, and far more creative things that artists

could think of, are great ways to give RGAC artists a way to show the community how

and where they support the arts. Providing these items is also a great way to get RGAC’s

name out into the community, and to make sure everyone knows that supporting RGAC

means supporting the arts.

Findings showed that awareness of membership benefits was lacking, with 45.5% of respondents

stating they had only briefly heard about membership benefits, with a good portion being

currently enrolled members.

Members, Know Your Rights! - As members are such an essential part of the RGAC

operation, the organization must ensure that members are as aware of their membership

benefits as they can possibly be. Communicating membership benefits to all, regardless

of membership standing, is also important for enticing new members to come enjoy the

benefits of membership and have a more satisfying experience overall.

RGAC should continue to look towards collaborative efforts to market themselves within the

community.

53

Artistically fresh public spaces – As a way to reach out to new partners and friends,

RGAC should consider the possibility of expanding their art leasing program to local

businesses like banks, board rooms, medical offices, and interior designers and stagers.

Secondary research indicates the value of art leasing programs for building a

community’s involvement in the arts – giving business owners the opportunity to

surround themselves with gratifying art, and community members the opportunity to

enjoy artistically fresh public spaces, all the while allowing artists to show their pieces

outside the gallery setting. Expansion of the art leasing program could be a great way for

RGAC to strengthen its public presence and provide artists with additional opportunities

to be publicly admired.

Community Expansion

Community involvement was rated as important or extremely important by 56.4% of

respondents. This sentiment was reinforced by comments in open spaces throughout the survey

and in Question 8 where respondents showed overwhelming support for community expansion

and outreach. Secondary research also stresses the importance of art galleries not only for their

visitors but for the entire community.

Listen to the Client – Respondents suggested an RGAC sponsored paint-out or quick-

draw in downtown Medford, more variance in exhibition and event themes, lively

festivities that include music, poetry and dance, or even the addition of a small café in the

facility to make RGAC a place where people could come to socialize. Some respondents

recommended RGAC collaborate with charitable organizations in the community like the

Dunn House and Animal Shelter. As RGAC works with learners in our region, they

should also consider reaching-out to the Osher Lifelong Learning Institute, and those

54

living in retirement communities. These partnerships and expansions would help RGAC

further develop their community presence.

Making the Heart Beat – Perhaps RGAC’s biggest contribution would be in helping the

community define an identity and sense of place. Using the recommendations provided

in the secondary research, RGAC could help the community to take a cultural inventory,

this would also allow RGAC to better understand what new community needs they could

serve.

Defining Community – As a necessary predecessor to the above mentioned

recommendation, RGAC must define its “community.” Many members noted the long

distances they travel to participate at RGAC – Klamath Falls, Cave Junction, Grants Pass,

Yoncalla, and Ashland. If RGAC wishes to include these regions, they must be mindful

that their efforts make surrounding areas feel involved. RGAC should also be sure to

incorporate their decisions about community into their image – if they decide to include

areas surrounding Medford, they should be sure to promote themselves as a hub for

artists from all over the region. A wider definition of community may also allow for new

opportunities to collaborate – as secondary research suggests, RGAC must identify the

hottest cultural attractions in the region, and find ways to get in on the scene.

Suggestions for Future Studies:

This research builds on a survey of RGAC members (focusing mainly on demographics)

conducted in earlier 2011. Considering the scope of these two surveys, the following are

suggestion for follow-up research:

Direct questioning of current constituents regarding what could be done to increase their

participation in core RGAC services.

55

A survey to guide RGAC in their community expansion efforts, targeted at the larger

community (i.e. art teachers at local schools, SOU/HEC art students, local organization

leaders, and all others who are not yet attending RGAC, etc.).

While both these items were investigated to some extent in this research, findings were

inconclusive, and further research is needed. While frequency of participation was investigated

by drawing correlations with interest, awareness, and satisfaction, we found correlations to be

weak, and suspect more could be done to better understand the variable of participation. While

we investigated community expansion through select questions in the survey, our findings

indicate only the great amount of support and enthusiasm for the subject. Our secondary

research also showed enthusiasm for community expansion as well as recommendation of how

this might be done, however this research was not localized to the Medford or even Southern

Oregon area. Future research should venture out into the community’s unexplored populations,

to determine how RGAC can best be involved and meet community needs. In conclusion,

RGAC and other small arts organizations could benefit from further related research in order to

meet their goals.

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Appendix A: Research Proposal

April 10, 2012

School of Business


1250 Siskiyou Blvd.

Ashland, OR 97520

Dear Frann Wolfe:

The purpose of this letter is to verify our intent to pursue the MBA research project in

conjunction with Southern Oregon University and the Rogue Gallery & Art Center (RGAC) as

discussed on April 3, 2012 and to explain our understanding of the tasks we are expected to

accomplish.

Before proceeding, we are required to present you with the following statement concerning the

nature of the student consulting engagement:

“This research project is made possible under the cooperative agreement between Rogue

Gallery & Art Center and the Southern Oregon University School of Business. The

analysis, recommendations, and final report that will be provided are based on provisions

of that agreement. The report you will receive should not be interpreted as the official

position of SOU. Rather it will contain views and opinions of the School of Business

student research team based on discussions, observations, investigations, and analysis of

your organization’s operations and its business environment.”

Based upon our discussions with you, we intend to accomplish the following tasks:

The general research objective is to survey both the members and non-members RGAC

who define themselves as artists and use the array of gallery and studio services offered.

Our purpose is to understand these members’ current involvement with Rogue Gallery &

Art Center and how this involvement can best be enhanced in the future.

In efforts to reach this objective, our specific research goals are as follows:

We will survey the RGAC artist community regarding their current awareness and

involvement with gallery and art studio services. We will seek to understand how Rogue

Gallery & Art Center can better meet artists’ expectations to increase involvement and

satisfaction. We will also seek to understand how involvement and awareness can be

improved through better communication. We will survey to understand:

demographics of participation amongst RGAC artists;

57

artists’ familiarity with RGAC base services and ongoing/ upcoming offerings as

well as how Rogue Gallery & Art Center can most effectively communicate with

constituents;

gage artists’ level of overall satisfaction with RGAC services and interactions;

what additional services and opportunities artists would like to have offered, in

what form and at what times, and how Rogue Gallery & Art Center studio and

exhibition spaces can be improved

We will provide suggestions where the Rogue Gallery & Art Center may meet their goal

to improve services based upon survey results and external research. In our external

research, we will consider what other well established galleries in the nation offer.

Whereas additional tasks may be undertaken (time allowing), our emphasis will be on

completing the above described tasks.

It is our goal to provide you with a briefing and written report by June 12, 2012, within which we

will summarize our findings. We hope that the resulting information will be helpful to the

Rogue Gallery & Art Center as they seek to improve artists’ involvement and satisfaction.

We thank you for giving us the opportunity to apply our skills to your meaningful purpose. We

look forward to working with you and helping Rogue Gallery & Art Center continue to develop

into the community cornerstone that it deserves to become.

_________________________________ ______________________________

Ammi Kamhoot Hartley Sulaiha McDougall

Student Researcher and Consultant Student Researcher and Consultant

__________________________________

Frann Wolfe

Rouge Gallery and Art Center

________________________________ ________________________________

Donna Lane Mark Siders

MBA Program Director MBA Program Director

58

Appendix B: IRB Form

INSTITUTIONAL REVIEW BOARD (IRB)

REVIEW REQUEST

FOR PROJECTS USING HUMAN SUBJECTS

Investigators are responsible for ensuring that the rights and welfare of human subjects participating in research activities are protected, and that methods used and information provided to gain subject consent are appropriate to the research. All research activities involving the use of human beings as research subjects (participants) must be reviewed and approved by the Southern Oregon University Institutional Review Board (IRB), unless the IRB chair determines that the research falls into one or more of the categories of exemption established by federal regulation. These categories include research conducted in commonly accepted educational settings involving normal educational practices such as research on regular and special education instructional strategies, research on the effectiveness of or the comparison among instructional techniques, curricula, or classroom management methods. Also exempt is research involving the use of educational tests (cognitive, diagnostic, aptitude, achievement), survey procedures, interview procedures or observation of public behavior. However, each category of exemption contains specific exceptions. Please note that only the IRB may make the determination if the research qualifies for exemption under Title 45 CFR 46.101. Investigators may not solicit subject participation or begin data collection until they have received approval or written concurrence that research has been determined to be exempt from the Institutional Review Board.

Application forms are available on the Internet at Research & Human Subjects Clearance. The form may be downloaded and completed but must be submitted in hard copy due to signature requirements. If you have questions about the IRB application form or about the review process, contact:

Deborah d’Este Hofer Grants Administration

Churchill #205

Phone: 552-8662 /E-mail: [email protected]

mailto:[email protected]

59

INSTITUTIONAL REVIEW BOARD (IRB) The Institutional Review Board generally meets on an ad hoc basis as proposals are submitted for review. Applicants must allow 2 weeks for the review process. A notice of the IRB’s action will be sent to the researcher(s). It is the responsibility of the researcher(s) to see that the form is given to any agency which may require it.

Title 45 Code of Federal Regulations Part 46 (45 CFR 46) Protection of Human Subjects specifies federal regulations for the conduct of research involving human subjects. See especially sections 46.102 Definitions, 46.116 General Requirements for Informed Consent, and 46.117 Documentation of Informed Consent. The document is available at http://ohrp.osophs.dhhs.gov/humansubjects/guidance/45cfr46.htm. See references throughout this application to 45 CFR 46.

INSTRUCTIONS: Your responses to the 21 questions in the summary sheets that follow are basic to the Institutional Review Board’s determination about the protection of the rights and welfare of human subjects in your research. Your responses should be clear, complete, and easy to understand. Place your typewritten response immediately under each question (not on a separate sheet). It is important that you answer every question. If you believe that a question does not apply to your research, enter a response such as “N/A” or “does not apply.” Copies of the following must be included with this form:

1. The cover letter and script that will be used to inform subjects of the nature of the research. 2. The informed consent template the subject(s) will sign. 3. Copies of surveys, instruments or measures, questionnaires, interview schedules, focus group

questions and/or other materials used to collect data.

Submit one complete hard copy and one digital copy (via e-mail or disk) to:

Institutional Review Board Grants Administration Churchill #205 Atten: Deborah d’Este Hofer

http://ohrp.osophs.dhhs.gov/humansubjects/guidance/45cfr46.htm

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Title Page

For office use only

PROTOCOL/FIS NUMBER:

Review Form for Projects Using Human Subjects


Grants & Human Subjects Administration #205

►Research Project Title

Rogue Gallery & Art Center, Artist Awareness and Satisfaction

►Principal Investigator

Name (first, middle initial, last): Donna, Lane

Phone:

(541) 552-8203 University Relationship:

Professor Associate Professor Assistant Professor Instructor Other. Please

specify. (“Other” categories may require prior approval.)

Department: School of Business

E-mail: [email protected]

Signature: Date:

X

Fax:

(541) 552-6715

►Co-Investigator

Name (first, middle initial, last): Sulaiha, McDougall

Phone: 541-787-5215

University Relationship: Faculty Staff Graduate Student Undergraduate

Student

Department: School of Business, MBA


61

Other. Please specify.

Signature: _________________________ Date: _____________________________

Fax:

►Co-Investigator

Name (first, middle initial, last): Ammi Kamhoot-Hartley

Phone: 541-292-0894

University Relationship: Faculty Staff Graduate Student Undergraduate

Student Other. Please

specify.

Department: School of Business, MBA


Signature: ___________________________ Date: _______________________________

Fax:

Application Questions

Please type your responses.

INTRODUCTION TO THE PROPOSED RESEARCH

1. Provide the date when you propose to begin research and the date when you anticipate that

research will be completed. Proposed start date: 5/1/2012

Anticipated completion date: 6/12/2012

2. Indicate any source(s) of funding for the proposed research i.e., department funds or grants. none

DESCRIPTION OF THE PROPOSED RESEARCH

3. Provide a brief (1 page or less) description of the purpose of your research.

The general research objective is to survey both the members and non-members of Rogue

Gallery & Art Center (RGAC) who define themselves as artists and use the array of

gallery and studio services offered. Our purpose is to understand these members’ current

involvement with RGAC and how this involvement can best be enhanced in the future.

In efforts to reach this objective, our specific research goals are as follows:

62

We will survey the RGAC artist community regarding their current awareness and

involvement with gallery and art studio services. We will seek to understand how Rogue

Gallery & Art Center can better meet artists’ expectations to increase involvement and

satisfaction. We will also seek to understand how involvement and awareness can be

improved through better communication. We will survey to understand:

demographics of participation amongst RGAC artists;

artists’ familiarity with RGAC base services and ongoing/ upcoming offerings as

well as how Rogue Gallery & Art Center can most effectively communicate with

constituents;

gage artists’ level of overall satisfaction with RGAC services and interactions;

what additional services and opportunities artists would like to have offered, in

what form and at what times, and how Rogue Gallery & Art Center studio and

exhibition spaces can be improved

4. Indicate the setting or location(s) where research will be conducted. Attach letters of support or agreement, as necessary, showing that you have permission to conduct research at that location.

Each respondent will receive an email requesting participation with the linked survey.

5. Describe any potential problems of ethics using human subjects (painful stimulation, deception, coercion, embarrassment, lack of confidentiality, lack of full disclosure, lack of feedback for subjects, etc.).

NA

6. Does the proposed research require that you deceive participants in any way?

Yes No 7. If your response is “yes,” describe the type of deception you will use, indicate why it is

necessary for this study, and provide a copy of the debriefing script. NA

8. What is required of subjects? Subjects are required to have internet/email access to complete the survey. Subjects are requested to share personal feelings/opinions about Rogue Gallery & Art Center services and interactions. The survey will consist of twelve to fifteen questions, including a few demographic questions (specifically related to involvement with Rogue Gallery & Art Center) and a few open-ended questions. We aim to develop a meaningful and straightforward survey that can be completed by respondents in reasonable time.

63

9.

What happens to subjects (include a description of any instruments used)?

Subjects take time on a computer to complete the survey in an online survey collection and analysis program (Survey Monkey).

BENEFITS AND RISKS

10. Describe the potential benefits of conducting this research. List the benefits to the

participants themselves, contributions to the field of knowledge, and benefits to society as a whole. If the research participants will not receive any direct benefits from participating in this study, indicate this in your response.

Participants will benefit from improved RGAC services and in turn receive improved opportunities for artistic and personal development. RGAC will benefit from information aimed at providing specifics on how to improve RGAC facilities, services, and customer satisfaction.

11. Describe any potential risks that a research participant may become upset or distressed as a result of their participation in this study. When appropriate, provide a list of community agencies or counseling services so that participants can be directed to assistance as needed.

NA

PARTICIPANTS

12. Indicate the total number of participants you require, and your sampling procedure.

Approximately 700 participants will be surveyed. Surveys will be sent to all members and non-members who have registered with RGAC as ‘artist’ and given their email in the process.

13. Describe the type and source of subjects required (i.e., single parents at SOU, psychology classes, hysterectomy patients at Rogue Valley Medical Center, fifth graders at Walker Elementary School, etc.).

Artists registered with RGAC. RGAC will be providing a list of emails for these respondents.

14. Provide an estimate of the amount of time that will be requested from each person who participates in this research study (number of sessions, amount of time per session, and duration or period of time over which the research will take place).

1 session per respondent, ~10-20min.per session, sessions from 5/1/2012 – 5/15/2012

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INFORMED CONSENT PROCEDURES

15. Describe what you have done to make sure your subjects are fully informed about their role

in the research, that their confidentiality will be maintained, and that their participation is voluntary, and that they can withdraw at any time without penalty.

Before beginning the survey, respondents will be presented with a disclaimer giving accurate, complete, and comprehensible information about the nature of the research and their rights as research subjects – including their right to confidentiality and voluntary participation that can be withdrawn at any time without penalty.

16. Describe any incentives, inducements, or reimbursements (e.g. extra credit, research credit, cash payment, raffle, gift) that will be offered to the participants. Indicate whether participants will receive the incentives if they withdraw before the study has been completed.

Respondents will be offered the opportunity to enter for a chance to win a free workshop session of their choice with RGAC.

CONFIDENTIALITY OF THE DATA

17. Indicate the intended use of your data. Check all that apply.

Thesis Publication/journal article Capstone Results released to participants/parents Undergraduate honors project Results released to employer or school Conferences/presentations Results released to agency or organization Other. Describe below.

18. Describe the steps you will take to insure the confidentiality of the data. Indicate how you

will safeguard data that includes identifying or potentially identifying information (e.g. coding). Indicate when identifiers will be separated or removed from the data.

We will be using the survey software Survey Monkey through which all identifying markers connecting responses to respondents can, and will, be erased upon receiving responses.

19. Indicate where and how you will store the data and how long you plan to retain it. (Research proposals that involve any type of use of human subjects must be retained for 3 years.) Describe how you will dispose of it (e.g. erasure of tapes, shredding of data).

65

Data will be stored in Survey Software as well as moved to Excel for interpretation. The report will be held in the SOU School of Business office for 5 years.

20. Will results of this research be made available to the subjects involved? Yes No 21. If so, how and when? Involved subjects will be informed that they can contact Donna Lane, Associate Professor at the SOU school of Business (contact information listed above)

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Appendix C: IRB Exemption

IRB Review, Determination & Approval Images are not displayed. Display images below - Always display images from [email protected]

School of Business Research Projects

Hello brilliant students. I completed necessary review of the projects listed below. They are

unconditionally approved.

You will receive a formal letter of approval under separate cover. I just wanted you to know you

were cleared to start data collection.

Thank you for your clear and complete presentations. Fell free to contact me with questions.

Best of luck and have fun.

1. Community College Articulation Exempt

2. Rogue Valley Growers & Crafters Exempt

3. Earth Paints LLC Exempt

4. Organic Nation Exempt

5. Rogue Gallery & Art Center Exempt

6. SOU Non-Profit Management Certificate Exempt

7. Pacific Crest Federal Credit Union Exempt

8. Grower's Market Economic Impact Exempt

9. Evaluation of Full Time University Faculty Exempt

Deborah d'Este Hofer MM

Southern Oregon University Grants & Sponsored Programs Institutional Review Board 1250 Siskiyou Blvd Ashland, OR 97520 Computing Services West 210 541.552.8662 [email protected]

mailto:[email protected]

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Appendix D: Email Survey (Initial)

RGAC Artist Satisfaction Survey

Dear Artists,

Thank you for your involvement with Rogue Gallery & Art Center (RGAC).

The Rogue Gallery & Art Center is conducting research and needs your feedback!

We hope you can take a few minutes to answer a short survey to help RGAC serve you and the

local art community better. By completing the survey, you can also enter to win a workshop of

your choice, courtesy of RGAC!

The survey should take 10-20 minutes. Please complete by May 14th to show your support.

Use this hyperlink to start the survey: https://www.surveymonkey.com/s/RGACArtists

Thank you for your support!

https://www.surveymonkey.com/s/RGACArtists

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Appendix E: Email Survey (Reminder)

Dear Artists,

The Rogue Gallery & Art Center (RGAC) is still seeking feedback for the Artist Satisfaction

Survey.

Please help out Southern Oregon University MBA graduate students complete their research

project in partnership with RGAC to help foster a stronger local artists’ community.

To show our appreciation, the survey offers a chance to enter a drawing for a workshop of your

choice, courtesy of RGAC!

We would like to thank everyone for their support for RGAC and its mission as well as SOU

MBA student learning experiences.

The survey closes on May 14th and should take 10-20 minutes to complete.

Use this hyperlink to start the survey: https://www.surveymonkey.com/s/RGACArtists

Thank you for your support!

https://www.surveymonkey.com/s/RGACArtists

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Appendix F: Survey Screenshot

74

Appendix G: Survey Responses

Question 1:

Are you _____?

Answer Options Response

Percent Response

Count

a currently enrolled member (members have submitted a current annual fee in support of RGAC)

57.0% 73

a past enrolled member 18.0% 23

not yet a member 25.0% 32

answered question 128

skipped question 2

Question 2: Several possible reasons for attending RGAC are listed below. Please indicate how important or unimportant each one is to you.

Answer Options Extremely

Unimportant Unimportant Neutral Important

Extremely Important

N/A Rating

Average Response

Count Artistic development 2 6 12 52 47 1 4.14 120 Socializing and meeting new people

2 12 39 60 7 0 3.48 120

Networking 4 8 27 62 16 0 3.67 117 The opportunity to exhibit 5 3 10 45 56 1 4.21 120 Viewing exhibitions and artwork

2 0 4 44 65 0 4.48 115

Purchasing artwork in the Boutique

8 19 46 36 7 0 3.13 116

Meeting and learning from exhibiting artists

3 4 6 71 32 1 4.08 117

Finding inspiration 4 4 17 45 48 0 4.09 118 Getting involved in the community

5 6 40 45 21 0 3.61 117

Supporting the arts 2 0 5 55 51 0 4.35 113 Other (please specify) 4

answered question 121 skipped question 9

Question 3:

Are you aware that RGAC is offering the following services and events?

Have you heard about this?

Answer Options No, I have not heard about___

I’ve briefly heard about

__

I know all about ___

Response Count

Exhibitions 3 35 68 106

Classes and Interactive Workshops 4 36 62 102

Adult Classes 6 33 63 102

Artist Teen Mentoring Project 29 36 33 98

75

Youth Classes 12 52 32 96

Membership Benefits 13 46 42 101

Lectures – Presentations by exhibiting artists, providing information and interesting insight.

21 48 35 104

Boutique – A wide assortment of works by local talent that are available for sale at RGAC.

3 29 72 104

Professional Development Training – Programs to support artists’ professional success.

28 44 30 102

Current exhibition: Best of the Best 32 38 35 105

Upcoming exhibition: Eugene Bennett, A Life in Art

15 43 44 102

Are you interested?

Answer Options This does

not interest me

I would consider it

I want to be there

NA Response

Count

Exhibitions 5 48 43 3 99

Classes and Interactive Workshops 18 57 16 3 94

Adult Classes 18 60 15 2 95

Artist Teen Mentoring Project 35 33 8 16 92

Youth Classes 41 27 3 25 96

Membership Benefits 10 50 19 13 92

Lectures – Presentations by exhibiting artists, providing information and interesting insight.

7 55 29 4 95

Boutique – A wide assortment of works by local talent that are available for sale at RGAC.

17 49 26 5 97

Professional Development Training – Programs to support artists’ professional success.

14 53 22 7 96

Current exhibition: Best of the Best 5 53 34 3 95

Upcoming exhibition: Eugene Bennett, A Life in Art

8 37 46 3 94

Question Totals


skipped question 20

Question 4:

What services have you participated in at RGAC and with what frequency?

Answer Options Never

Not within

the last 2 years

once in the last 2 years

1-3 times/year

4-6 times/year

7-9 times/year

10-12 times/year

12+ times/year

Response Count

Visiting an exhibition 2 4 14 41 20 14 9 3 107

Showing in an exhibition 39 19 21 28 1 0 0 1 109

Attending Interactive 55 23 12 15 1 0 0 0 106

76

Workshops

Attending Lectures 46 23 19 17 1 0 0 0 106

Attending Professional Development Training

71 16 8 7 2 0 0 0 104

Shopping in the Boutique 25 13 26 28 8 3 1 1 105


skipped question 20

Question 5:

How well do the services at RGAC meet your expectations in the following areas:

Answer Options Does not meet my

expectations

Meets my expectations

Exceeds my expectations

N/A Rating

Average Response

Count

Value 13 65 15 11 2.02 104

Scheduled times offered 11 70 7 14 1.95 102

Pricing 7 78 6 13 1.99 104

Effective use of time 7 62 12 19 2.06 100

Medium(s) of interest 22 60 13 8 1.91 103

Studio use and layout 9 54 14 25 2.06 102

Staff interactions 10 48 39 11 2.30 108

Community interactions 6 53 17 22 2.14 98

If you’ve expressed dissatisfaction in any of the listed areas, please use this space to explain. 24


skipped question 22

Question 6:

How does the atmosphere at RGAC make you feel?


Percent Response

Count

Welcomed 79.0% 83

Comfortable 69.5% 73

Encouraged 44.8% 47

Inspired 54.3% 57

Liberated 17.1% 18

Passionate 22.9% 24

Connected to the art community 50.5% 53

Unwelcome 7.6% 8

Uncomfortable 5.7% 6

Discouraged 7.6% 8

Uninspired 8.6% 9

Limited 17.1% 18

Bored 8.6% 9

Not connected to the art community 12.4% 13

Other (please specify) 15


skipped question 25

77

Rate your level of satisfaction with services at RGAC.

Answer Options Extremely satisfied

Satisfied Neutral Dissatisfied Extremely dissatisfied

N/A Rating

Average Response

Count

Visiting an exhibition 37 52 7 1 3 4 1.81 104

Exhibiting personal work 15 28 22 5 4 29 2.39 103

Attending workshops 8 22 26 3 2 42 2.49 103

Attending lectures 5 29 28 0 1 39 2.41 102

Attending Professional Development Training

4 15 23 3 1 54 2.61 100

Shopping in the Boutique 13 46 21 3 1 17 2.20 101

Describe any improvements to services currently offered at RGAC that you would like to see. 13


skipped question 24

Question 7: RGAC strives to be a strong cultural resource connected to the local artist community. In addition to currently offered services, please tell us if you would be interested in the following expansions. (check all that apply).


Percent Response

Count

Collaboration with local community organizations 54.2% 52

Special events tying to other Rogue Valley attractions 60.4% 58

Relevant Films featuring artists beyond the Rogue Valley

52.1% 50

I am not interested in additional services or events 19.8% 19

Other (please specify) 11


skipped question 34

Question 8:

Do you feel current on RGAC events and offerings?

Yes/No;

Answer Options Yes No

Response Count

-- 80 15 95

And I would like More/Less information

Answer Options More Less Same NA Response

Count

-- 18 3 43 3 67

via preferred methods of contact

Answer Options Mail Email Phone

Call Text

Message Facebook

Response Count

-- 6 59 0 0 3 68

Question Totals

List Other Contact Methods or Comments 6

78


skipped question 32

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Appendix H: Open-Ended Questions

2. Several possible reasons for attending RGAC are listed below. Please indicate how

important or unimportant each one is to you. (4 Responses)

Compare what is going on in the region versus the metropolitan areas and international exhibits.

learning wooden book cover, sewn integral headband bookbinding

Supporting pre-emerging contemporary artists

teaching in the classroom

5. How well do the services at RGAC meet your expectations in the following areas:

If you’ve expressed dissatisfaction in any of the listed areas, please use this space to explain.

(24 Responses)

I am looking for a highly involved and socially evolved artistic offerings which are integrated

with community, or challenging community. I am looking for art beyond old school traditional

practices.

I would like to see the RG widen its medium focus. i.e. more interaction with

music,poetry,dance, etc, I find this disturbing. I feel that all the arts are homophobic and

egocentric - There is really no separation of the process of creation and structure. The perfect

gallery for me would be one that would be a place people would like to congregate for

conversation, coffee, music along with the visual arts.

I would love to do some of the classes and buy in the gifrshop, but I have to use all of my money

for school at RCC. Don't have much left for theses types of expenditures, so I try and teach

myself on the computer at home. I Do Appreciate your efforts though and hope in the future to

get more interaction.

In my opinion, RGAC is poorly run, and is unprofessional in its dealings with the public and its

artists. More often than not the quality of work shown and therefore approved of by the staff and

the organization as a whole is frankly lacking.

The gallery has inflexible hours. When exhibiting work at Rogue Gallery I have to travel from

out of town and meeting their schedule is difficult for several reasons. Usually they require

limiteds times for delivery and pick up, and when asked for flexibility, they are not supportive,

on the contrary, they talk as if they were making me a favor for exhibiting my work and this is

not the case. Also, when talking to the director, she has been opinionated on definitions of what

art is and contradicted my suggestions with authoritative tones to the point of me not wanting to

exhibit there anymore.

ylou guys are doing a great job,keep up the good work thanks Frank Rinna

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Current emphasis appears to be on "cutting edge" 2-dimensional work, which seems to appeal

primarily to aspiring artists/students, and leaves a big void for those who like more

representational work, either as an artist or as a buyer. Crafts displayed/taught seem to be of

higher quality and more universal appeal than the painting styles selected for exhibit.

I have been very happy with the classes offered by the Rogue Gallery in the past. I am interested

in the classes for the current session, especially the Encaustic Class, The Book Class, and the

Basketry classes. In the past, I have taken encaustics, printmaking, painting, paper-making and a

class on how to sell your artwork. They were all great, except for the Selling one. However, I

was disappointed in the offering for last winter and spring, and disappointed that the encaustic

class for last summer was cancelled. I do think there needs to be more publicity for the classes,

and perhaps a better discription of the class for people who are unfamiliar with the medium. I

have my BFA in Studio Art. I do enjoy meeting other artists.

cost of classes and workshops too high

Would like to see more watercolor workshops

1. There aren't enough open, juried shows available to the artists of Jackson County. 2. The cost

of attending the dinner/auctions, even for those who donate their artwork, is way too expensive

and separates the artists from the community. 3. The cost of the workshops is too high for many

interested persons.

Over the past year or more the environment has changed. Administration door is always closed,

interactions are not welcoming. It seems cold rather than vibrant, despite several obvious

improvements to the physical space. I no longer feel drawn in. Classes have not really interested

me in this time either and most exhibits have been underwhelming. Many of my favorite artists

are no longer regulars.

I live in KLAMATH FALLS and had to drive 70 miles each way to bring work for the rental

sales gallery and for the ist juried show; I am a professional artist and had a photo and a painting

in this show as well as work in the rental sales gallery over a number of years. I have been a

member in the past with Judy as the director; I felt that she was very professional and helpful. I

have not gotten along with the current director, have not felt welcome and have had difficulty in

making the time limit to bring work and take work from the gallery although I lately had driven

over the pass at least 6 times-- sometimes during adverse weather conditions. Eventually, I felt

that I was not being treated either with respect or in a compassionate way by the director and

requested to be withdrawn from the membership.

I was disappointed that the member's show was a more limited scope than last year - I don't paint

food related items, so there really wasn't an opportunity for me to show my work this past year

and I am already a very active member at the Ashland Art Center - there was another show as

well - or open studio tour, but it said it was for Medford artists and I live in Ashland. This is why

I dropped my membership. I have access to more of the things I am wanting from an art center in

Ashland, since the showing opportunities seemed limited at RGAC

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Only interested in bookbinding, particularly variants of integral sewn headbands

would like to see more interactive art & installation art

Have a Director who is an editor when what is needed is an artist/public relations type of person.

I felt very enequaly recived and pre-judged by Boss XXXXXXX And offended, and not

because the 3pieces that I scrounged up my last 35$ for weren't picked.. But more what was

picked to represent "contemporary art, artists and art tecniques" please don't undervalue the

weight of important and fragile artists and the idea that as an art gallery you are conveying

authoritarily that you know art! Ecpecially when printing the deffinition of "contemporary art on

the back. I was exited about your gallery until I was turned off by seeing what I don't consider

exiting contemporary stuff from artists who arent seriouse about the art and all that it means, and

just feeling how many other artists on this side are getting swept into the refuse...the salon de

refuse.

I did not feel the class I took this spring utilized time wisely. We were out an hour early each day

though the instructor said there really was not enough time to cover the subject.

I always seem to come by when the gallery's not open

Too enmeshed in the usual. Would like a show on utilizing 'junk' to make art.

I live in Klamath Falls, travel frequently to Eugene, really can't schedule with many events or

services.

I was a volunteer for several years and rarely was thanked or felt appreciated. When I have

offered suggestions or had ideas I have been ignored. The staff was never particularly

welcoming. When I asked for more responsibilities or to do something new - like work with a

committee or be on a board committee, I was never contacted. I tried this three times - leaving

my name and phone # with a board member. I feel like I had a lot to offer and was willing to

work. I have a BA in Community Services and have worked with non-profits my whole career. I

currently have a successful marketing business. I have worked as a volunteer coordinator in

previous jobs, so I know how I should have been treated. I have given up and rarely go to the

Gallery anymore.

I would like to see more advanced,high level artist workshops with teachers who are at the top of

their game in my area of interest: Classical Realist Oil Painting and Drawing. Mostly what I've

seen is local artists who seem to be teaching for beginning and intermediate artists.

5. How well do the services at RGAC meet your expectations in the following area: value,

scheduled times offered; pricing; effective use of time; medium(s) of interest; studio use

and layout; staff interactions; community interactions. (24 Responses)

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All the hard work that the folks who are responsible for the running of RGAC is highly

appreciated.

Is as if they are struggling and they show it and want the community to know how much they are

struggling.

Grateful

It has been a while since I've attended much due to conflict w/ my work schedule. I wish I could

attend more

The instruction areas are quite limited

As I said, I live in Ashland and spend alot of time there at the art center where I have studio

space - it is a better place to mingle as artists are always there on-site.

When viewing high quality artworks, I become inspired and enthused with ideas.

functional space with needed supplies and teacher

medford just isnt happening in the art world yet

I am aware of the facilities only as described in the exhibitions listings

Some of the volunteers seem vacant and uninformed about the works both in the gallery and the

Boutique. As an artist bringing in new work a volunteer was not interested in connecting me to

the works and seemed scattered about EVERYthing in both Boutique and gallery

have not been there

Too limited to usual art

"Liberated" and "Passionate" are really a bit much.

I feel a haughtiness, as if I didn't meet their criteria as a person. Yes, I submitted work, and it

was not accepted. What caused the issue was a class my granddaughter attended. It was not as

expected. I was refunded the money, which was good, but I was not allowed a refund on my

membership, even though my granddaughter only enjoyed one class, and was extremely

disappointed with the second one. I didn't feel connected, and didn't want to participate any

longer. I was offered a chance to present my work, and my granddaughter's work, which was not

accepted. I understand why, but why didn't anyone listen when I said I would recieve no benefit

from continuing my membership. It is almost like the staff is saying, "You and your work are

NOT GOOD ENOUGH, BUT WE WILL TAKE YOUR MONEY!" My money is hard to come

by. This was a special gift for my granddaughter. It was not a happy time, nor a happy outcome.

So I will say, enjoy my $, and we won't presume to bother you again, with our faults and flaws.

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7. Rate your level of satisfaction with services at RGAC. (13 Responses)

I would appreciate more information in real time and thanks again!!!

I would like the gallery to try and develop shows and exhibits with real merit artistically. I would

also like to see an improvement in the staff, people should be brought in to curate the shows and

oversee the organization who have professional experience in the field, and a background

education. They should institute a code of conduct, and draw up a relevant mission statement.

My limitations are self imposed due to health problems.

more of a balance of realistic art with non-objective and abstract art,

I really appreciated the changes in Boutique last I seen gallery a couple of years ago Good

merchandizing techniques were being employed.

Already addressed these issues.

the jewelry needs to be priced so that the prices show.

Grants Pass off site location classes

Show "important" art to art history and open this dialogue about appeal in sale and appeal in

importance and message and what/where either choice(path) will take us as individuals in a

society.

I periodically apply to exhibit, but have not been invited to date, so my exposure to the facilities

is limited to the advertisements in the media

I think instructors should have an outline/lesson plan to be submitted before a class is approved.

Two of the classes I've had have been 'seat of the pants' experiences - little planning or

preparation and no handouts.

Better training for volunteers. I KNOW that you use what you can get and everytime I have been

in a situation where I was "helped" by a certain volunteer there was always a more knowlegible

member or staff member available.

I wonder if Eugene Bennett's cards will become available. Many years ago I was more involved

with classes etc...The gallery was always a must when down town. You get to be 82 and your life

changes :)

8. RGAC strives to be a strong cultural resource connected to the local artist community. In

addition to currently offered services, please tell us if you would be interested in the following

expansions. (check all that apply).

Evening classes ( I know that might be difficult for budget )

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i would like to see more call to artists, group shows with unusual themes, shows benefiting a

target community group, [for example, dunn house, or the animal shelter, or access, that would

possibly get the general public interested in attending], fun art competitions that get the

community as well as artists excited, and shows featuring small affordable artworks by a variety

of artists that would enable the average person to start collecting his or her favorite artist's work.

I live in Yoncalla, some 130 miles to the north, so I don't get down to Medford very often,

limiting my exposure and interaction with the RGAC.

Because I live in Cave Junction, I very rarely get to Medford.

More w Ashland and it's art community, mabye a second location in Ashland

As an artist, activist, community and community outreach is important to me on any level

RGAC sponsored paintout or quickdraw in the Medford downtown

I'm currently rather housebound so don't take this as a standard reply

I'd like to explore the possibilities of exhibiting there as a professional portrait artist.

I AM MOSTLY INTERESTED IN EXHIBITIONS THAT ARE EXTRAORDINARY

The Rogue Gallery does an incredible job with all that it takes on. I'm only "not interested" due

to my overflowing busy life.

9. Do you feel current on RGAC events and offerings? (Responses 6)

Again, health issues limit my participation.

Facebook is also good

mail material is better communication for me

email, word of mouth, skywriting

I like the amount of info I get from RGAC, I get info via email, facebook, and the printed

calendar and cards that are mailed out. I feel like you do a good job reaching me - although

exhibits that aren't featured seem to slip past me, like the Teen exhibits. It could be you send

them and I don't notice though.

Fabulous auto-emails that I receive really keep me in the loop.

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References

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rgac a portrait of the artist experience

Documents

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school of business mark

topic of art organizations

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image courtesy of rgac

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