Art exhibition and provenance records are some of the most vital tools museum managers have for understanding and interpreting their collections. Yet for many institutions these records are the last record to be digitized. In this video, David Newbury of the Carnegie Museum of Art speaks with AMT Lab contributor Jenee Iyer about Art Tracks.
A look back at Christine Sajewski’s 2014 whitepaper, Making Data-Driven Decisions for Marketing-Focused Outcomes!
Dr. Brett Ashley Crawford explores a vital question question: where can the new artists of tomorrow afford to live and work to create the next generation of ideas?
How can galleries, libraries, archives and museums create long-term value with open data? Can cultural institutions become leaders for social innovation by opening data? Open data advocates argue that yes, they can, but only if they are able to translate that data into useable knowledge. AMT Lab Contributor Sarah Weber investigates.
AMT Lab contributor Anne Marie Padelford recently spoke with Antoine Robidoux, a senior web developer at Intellitix, an RFID solutions company that primarily works in festival access control. Read on to see their discussion about the current and future possibilities of RFID technology.
What is the difference between a Data Analyst and a Data Scientist? What is the most demanded programming language for data workers entering the cultural field? And what skills are most important for those interested in working with data? AMT-Lab contributor Julia Lewis recently attended a panel which addressed these questions and more. Read her thoughts here.
Data workers are the new must-have for a company. McKinsey Global Institute predicts that in the next three years, there will be a need for 1.5 million data analysts and managers. The Bureau of Labor Statistics lists these careers as one of the fastest growing occupations in all sectors. So from a data analyst to a business analyst to an application analyst to a data scientist, who is who? And with overlapping skills, how can a nonprofit arts organization figure out the difference?
Earlier this year the NEA expanded its analysis of the 2012 Survey of Public Participation in the field to better understand the drivers behind various types of participation, from attendance to art-making. This study, entitled "When the Going Gets Tough," not only provides insight into what barriers affect different types of audiences, but also reveals that there is a significant core group of "interested non-attendees."
It is easy to see the ways that the production and consumption of opera have changed to match the needs of the 21st century consumer. However, it is difficult to identify similar changes reflected in the way that opera is managed. Opera companies have altered the product they are offering, but have they come up with new metrics to measure and manage their success?
Between CRM systems, social media management, and Google Analytics, arts organizations today have access to more data than ever before. Indeed, this unprecedented access has allowed for arts leaders to measure their performance more accurately and holistically than in the past. But in this ever expanding sea of data, how does an arts leader decide what information is the most important to focus on extrapolating trends on?