Interview: Enriching lives and recharging society's batteries
It’s a gut feeling – all of us working in this sector know the intrinsic value that cultural organisations like Christchurch Art Gallery bring. But the QWB Lab measurement tools help us to articulate that value clearly. This data becomes evidence to support funding. But perhaps more importantly, it enables us to confidently describe the value of our services to the community. And after all, we exist for them.
David Sheldon, Audience & Programme Manager, Christchurch Art Gallery Te Puna o Waiwhetū
QWB Lab Senior Consultant, Linda Gilbert spoke with David about the role cultural institutions play in delivering wellbeing for individuals and communities.
Linda Gilbert (LG): What does wellbeing mean to you personally?
David Sheldon (DS): My personal sense of wellbeing is about recharging my batteries or having a spare battery to draw upon when I need to. It’s the middle of winter here in Aotearoa New Zealand, so this weekend I’m taking my family to Hanmer Springs. Sitting outside in warm thermal pools surrounded by snowy mountains will definitely recharge me!
LG: In a professional sense, what does the idea of wellbeing mean within the context of Christchurch Art Gallery Te Puna Waiwhetū?
DS: Professionally, I believe the Gallery provides wellbeing to the community on many levels. It is a place that is safe physically and psychologically because it is welcoming and inclusive to all. It is a non-judging space. It is an enriching space. This is a value to the public in Christchurch and beyond.
We are aware that some people may not see an art gallery as a place for them. That idea of being perceived as inaccessible, snooty or a ‘white cube’ is something we actively address through our public programming strategies. We want the gallery to reflect the community it serves.
LG: Who do you consider your community?
DS: Our community includes artists and visitors who are: Mana whenua (Indigenous Māori who belong to the region); people with disabilities; people of all ages, genders and sexual orientations; and the many ethnic communities in the region. We are inclusive and deliver a huge public programme of events, exhibitions, workshops and talks designed with, by, and targeted for, these diverse populations. We want people to feel the Gallery is a place where they can see themselves and their stories reflected in the art.
LG: In what ways do you consider the wellbeing of visitors in exhibition design and gallery spaces?
DS: Our building is very modern and quite glassy and corporate looking. We recognise that this contemporary architecture might be a barrier for some, so we go to great lengths to ensure visitors are greeted with a warm front of house welcome when they enter the space. The human touch. Another way is taking care in the way we write signs and wall labels. It is important to us that they are not too academic or baffling. We want to communicate clearly through our labelling, come across as approachable, and not create barriers. Philosophically, wellbeing and enrichment underpins everything we do.
LG: How do you go about capturing this wellbeing value that the Gallery provides? What data do you gather?
DS: There are several channels that the public can use to have input into their Art Gallery. At a high level, the Christchurch City Council’s long-term plan sets out funding for the Citizens and Community Group which includes libraries, parks and recreation and the Art Gallery. The public have input into that through a public submission process every 3 years. At a more detailed, content level, the Gallery undertakes an annual visitor survey. This informs strategic decisions for our programming 2-3 years in advance.
More specifically we have been working as part of a pilot project with QWB Lab for the past 2 years. We provide them with data about the organisation, we also put questions to our visitors specifically to capture the various aspects of value delivered by the Gallery. QWB Lab analyse the data against 12 dimensions of wellbeing (aligned to the OECD wellbeing framework, which New Zealand adapted as the Living Standards Framework), then they report back to us.
Their analysis clearly articulates the value the Gallery contributes to various aspects of people’s wellbeing and becomes tangible evidence and proof. That data can then be used to direct our operations and support funding and even inform policy changes relating to the impact that the GLAM sector has for society.
LG: Can you describe some specific impacts gleaned from the QWB Lab data? What story is this data giving you about the wellbeing value that Christchurch Art Gallery has?
DS: There have been a couple of results that have surprised us and added to our thinking about or role in Ōtautahi Christchurch. The first was how the feeling of wellbeing increased with the combination of experiences the visitor had. For example, a visitor coming to see a particular exhibition may experience an increase in their feeling of wellbeing. If they then stay for a coffee and a bite to eat, that feeling increases, and again if they visit the shop, we see another increase in the feeling of wellbeing. This demonstrates the importance of all elements of our operation to the overall wellbeing picture.
Another interesting finding from the data that has emerged is the importance that the Gallery has to visitors in the ‘housing’ area of the twelve dimensions of wellbeing. It sounds a bit weird on the face of it but when you explore the definition in the QWB Lab platform it says: “A space that is healthy, suitable, affordable and inspiring, where people can exchange ideas, have a good time, and build relationships.” You can clearly see how a free public space in the heart of a city feeds into that metric. The data also clearly shows the importance of the gallery as a safe space both physically and intellectually. This is vital for us to maintain as we seek to provide for all our communities and the artists we work with.
LG: What advice would you give others in the GLAM sector about using wellbeing to measure value
DS: I’d say give QWB Lab’s approach a go. Their system of measuring wellbeing puts meat on the bones of what we already know, but we sometimes struggle to articulate to those who aren’t in the sector. This information gives us authority to talk about the value of the GLAM sector and justify the investment in the Gallery with our stakeholders – funders and the public alike.
LG: Thank you for giving our readers a glimpse into how data can be applied and used in practical ways to strengthen the way value is measured.
Christchurch Art Gallery Te Puna O Waiwhetū is the second largest public art gallery in Aotearoa New Zealand. It positions itself as a catalyst for ambitious creativity in Ōtautahi Christchurch, through collaboration with artists, and extending the Gallery’s influence beyond its walls. It is very committed to their role for the community.
David Sheldon, Audience and Programme Manager, came to the Gallery five years ago from a background in environmental science. He admits he has been a collector from childhood and seems to have found his natural home. David heads the Exhibitions and Collections Team, Curatorial Team and the Learning and Audience Engagement Team and says he does this much in the way a conductor of an orchestra leads by bringing different instruments together to make music.
Interview: Enriching lives and recharging society's batteries
It’s a gut feeling – all of us working in this sector know the intrinsic value that cultural organisations like Christchurch Art Gallery bring. But the QWB Lab measurement tools help us to articulate that value clearly. This data becomes evidence to support funding. But perhaps more importantly, it enables us to confidently describe the value of our services to the community. And after all, we exist for them.
David Sheldon, Audience & Programme Manager, Christchurch Art Gallery Te Puna o Waiwhetū
QWB Lab Senior Consultant, Linda Gilbert spoke with David about the role cultural institutions play in delivering wellbeing for individuals and communities.
Linda Gilbert (LG): What does wellbeing mean to you personally?
David Sheldon (DS): My personal sense of wellbeing is about recharging my batteries or having a spare battery to draw upon when I need to. It’s the middle of winter here in Aotearoa New Zealand, so this weekend I’m taking my family to Hanmer Springs. Sitting outside in warm thermal pools surrounded by snowy mountains will definitely recharge me!
LG: In a professional sense, what does the idea of wellbeing mean within the context of Christchurch Art Gallery Te Puna Waiwhetū?
DS: Professionally, I believe the Gallery provides wellbeing to the community on many levels. It is a place that is safe physically and psychologically because it is welcoming and inclusive to all. It is a non-judging space. It is an enriching space. This is a value to the public in Christchurch and beyond.
We are aware that some people may not see an art gallery as a place for them. That idea of being perceived as inaccessible, snooty or a ‘white cube’ is something we actively address through our public programming strategies. We want the gallery to reflect the community it serves.
LG: Who do you consider your community?
DS: Our community includes artists and visitors who are: Mana whenua (Indigenous Māori who belong to the region); people with disabilities; people of all ages, genders and sexual orientations; and the many ethnic communities in the region. We are inclusive and deliver a huge public programme of events, exhibitions, workshops and talks designed with, by, and targeted for, these diverse populations. We want people to feel the Gallery is a place where they can see themselves and their stories reflected in the art.
LG: In what ways do you consider the wellbeing of visitors in exhibition design and gallery spaces?
DS: Our building is very modern and quite glassy and corporate looking. We recognise that this contemporary architecture might be a barrier for some, so we go to great lengths to ensure visitors are greeted with a warm front of house welcome when they enter the space. The human touch. Another way is taking care in the way we write signs and wall labels. It is important to us that they are not too academic or baffling. We want to communicate clearly through our labelling, come across as approachable, and not create barriers. Philosophically, wellbeing and enrichment underpins everything we do.
LG: How do you go about capturing this wellbeing value that the Gallery provides? What data do you gather?
DS: There are several channels that the public can use to have input into their Art Gallery. At a high level, the Christchurch City Council’s long-term plan sets out funding for the Citizens and Community Group which includes libraries, parks and recreation and the Art Gallery. The public have input into that through a public submission process every 3 years. At a more detailed, content level, the Gallery undertakes an annual visitor survey. This informs strategic decisions for our programming 2-3 years in advance.
More specifically we have been working as part of a pilot project with QWB Lab for the past 2 years. We provide them with data about the organisation, we also put questions to our visitors specifically to capture the various aspects of value delivered by the Gallery. QWB Lab analyse the data against 12 dimensions of wellbeing (aligned to the OECD wellbeing framework, which New Zealand adapted as the Living Standards Framework), then they report back to us.
Their analysis clearly articulates the value the Gallery contributes to various aspects of people’s wellbeing and becomes tangible evidence and proof. That data can then be used to direct our operations and support funding and even inform policy changes relating to the impact that the GLAM sector has for society.
LG: Can you describe some specific impacts gleaned from the QWB Lab data? What story is this data giving you about the wellbeing value that Christchurch Art Gallery has?
DS: There have been a couple of results that have surprised us and added to our thinking about or role in Ōtautahi Christchurch. The first was how the feeling of wellbeing increased with the combination of experiences the visitor had. For example, a visitor coming to see a particular exhibition may experience an increase in their feeling of wellbeing. If they then stay for a coffee and a bite to eat, that feeling increases, and again if they visit the shop, we see another increase in the feeling of wellbeing. This demonstrates the importance of all elements of our operation to the overall wellbeing picture.
Another interesting finding from the data that has emerged is the importance that the Gallery has to visitors in the ‘housing’ area of the twelve dimensions of wellbeing. It sounds a bit weird on the face of it but when you explore the definition in the QWB Lab platform it says: “A space that is healthy, suitable, affordable and inspiring, where people can exchange ideas, have a good time, and build relationships.” You can clearly see how a free public space in the heart of a city feeds into that metric. The data also clearly shows the importance of the gallery as a safe space both physically and intellectually. This is vital for us to maintain as we seek to provide for all our communities and the artists we work with.
LG: What advice would you give others in the GLAM sector about using wellbeing to measure value
DS: I’d say give QWB Lab’s approach a go. Their system of measuring wellbeing puts meat on the bones of what we already know, but we sometimes struggle to articulate to those who aren’t in the sector. This information gives us authority to talk about the value of the GLAM sector and justify the investment in the Gallery with our stakeholders – funders and the public alike.
LG: Thank you for giving our readers a glimpse into how data can be applied and used in practical ways to strengthen the way value is measured.
Christchurch Art Gallery Te Puna O Waiwhetū is the second largest public art gallery in Aotearoa New Zealand. It positions itself as a catalyst for ambitious creativity in Ōtautahi Christchurch, through collaboration with artists, and extending the Gallery’s influence beyond its walls. It is very committed to their role for the community.
David Sheldon, Audience and Programme Manager, came to the Gallery five years ago from a background in environmental science. He admits he has been a collector from childhood and seems to have found his natural home. David heads the Exhibitions and Collections Team, Curatorial Team and the Learning and Audience Engagement Team and says he does this much in the way a conductor of an orchestra leads by bringing different instruments together to make music.
Interview: Enriching lives and recharging society's batteries
It’s a gut feeling – all of us working in this sector know the intrinsic value that cultural organisations like Christchurch Art Gallery bring. But the QWB Lab measurement tools help us to articulate that value clearly. This data becomes evidence to support funding. But perhaps more importantly, it enables us to confidently describe the value of our services to the community. And after all, we exist for them.
David Sheldon, Audience & Programme Manager, Christchurch Art Gallery Te Puna o Waiwhetū
QWB Lab Senior Consultant, Linda Gilbert spoke with David about the role cultural institutions play in delivering wellbeing for individuals and communities.
Linda Gilbert (LG): What does wellbeing mean to you personally?
David Sheldon (DS): My personal sense of wellbeing is about recharging my batteries or having a spare battery to draw upon when I need to. It’s the middle of winter here in Aotearoa New Zealand, so this weekend I’m taking my family to Hanmer Springs. Sitting outside in warm thermal pools surrounded by snowy mountains will definitely recharge me!
LG: In a professional sense, what does the idea of wellbeing mean within the context of Christchurch Art Gallery Te Puna Waiwhetū?
DS: Professionally, I believe the Gallery provides wellbeing to the community on many levels. It is a place that is safe physically and psychologically because it is welcoming and inclusive to all. It is a non-judging space. It is an enriching space. This is a value to the public in Christchurch and beyond.
We are aware that some people may not see an art gallery as a place for them. That idea of being perceived as inaccessible, snooty or a ‘white cube’ is something we actively address through our public programming strategies. We want the gallery to reflect the community it serves.
LG: Who do you consider your community?
DS: Our community includes artists and visitors who are: Mana whenua (Indigenous Māori who belong to the region); people with disabilities; people of all ages, genders and sexual orientations; and the many ethnic communities in the region. We are inclusive and deliver a huge public programme of events, exhibitions, workshops and talks designed with, by, and targeted for, these diverse populations. We want people to feel the Gallery is a place where they can see themselves and their stories reflected in the art.
LG: In what ways do you consider the wellbeing of visitors in exhibition design and gallery spaces?
DS: Our building is very modern and quite glassy and corporate looking. We recognise that this contemporary architecture might be a barrier for some, so we go to great lengths to ensure visitors are greeted with a warm front of house welcome when they enter the space. The human touch. Another way is taking care in the way we write signs and wall labels. It is important to us that they are not too academic or baffling. We want to communicate clearly through our labelling, come across as approachable, and not create barriers. Philosophically, wellbeing and enrichment underpins everything we do.
LG: How do you go about capturing this wellbeing value that the Gallery provides? What data do you gather?
DS: There are several channels that the public can use to have input into their Art Gallery. At a high level, the Christchurch City Council’s long-term plan sets out funding for the Citizens and Community Group which includes libraries, parks and recreation and the Art Gallery. The public have input into that through a public submission process every 3 years. At a more detailed, content level, the Gallery undertakes an annual visitor survey. This informs strategic decisions for our programming 2-3 years in advance.
More specifically we have been working as part of a pilot project with QWB Lab for the past 2 years. We provide them with data about the organisation, we also put questions to our visitors specifically to capture the various aspects of value delivered by the Gallery. QWB Lab analyse the data against 12 dimensions of wellbeing (aligned to the OECD wellbeing framework, which New Zealand adapted as the Living Standards Framework), then they report back to us.
Their analysis clearly articulates the value the Gallery contributes to various aspects of people’s wellbeing and becomes tangible evidence and proof. That data can then be used to direct our operations and support funding and even inform policy changes relating to the impact that the GLAM sector has for society.
LG: Can you describe some specific impacts gleaned from the QWB Lab data? What story is this data giving you about the wellbeing value that Christchurch Art Gallery has?
DS: There have been a couple of results that have surprised us and added to our thinking about or role in Ōtautahi Christchurch. The first was how the feeling of wellbeing increased with the combination of experiences the visitor had. For example, a visitor coming to see a particular exhibition may experience an increase in their feeling of wellbeing. If they then stay for a coffee and a bite to eat, that feeling increases, and again if they visit the shop, we see another increase in the feeling of wellbeing. This demonstrates the importance of all elements of our operation to the overall wellbeing picture.
Another interesting finding from the data that has emerged is the importance that the Gallery has to visitors in the ‘housing’ area of the twelve dimensions of wellbeing. It sounds a bit weird on the face of it but when you explore the definition in the QWB Lab platform it says: “A space that is healthy, suitable, affordable and inspiring, where people can exchange ideas, have a good time, and build relationships.” You can clearly see how a free public space in the heart of a city feeds into that metric. The data also clearly shows the importance of the gallery as a safe space both physically and intellectually. This is vital for us to maintain as we seek to provide for all our communities and the artists we work with.
LG: What advice would you give others in the GLAM sector about using wellbeing to measure value
DS: I’d say give QWB Lab’s approach a go. Their system of measuring wellbeing puts meat on the bones of what we already know, but we sometimes struggle to articulate to those who aren’t in the sector. This information gives us authority to talk about the value of the GLAM sector and justify the investment in the Gallery with our stakeholders – funders and the public alike.
LG: Thank you for giving our readers a glimpse into how data can be applied and used in practical ways to strengthen the way value is measured.
Christchurch Art Gallery Te Puna O Waiwhetū is the second largest public art gallery in Aotearoa New Zealand. It positions itself as a catalyst for ambitious creativity in Ōtautahi Christchurch, through collaboration with artists, and extending the Gallery’s influence beyond its walls. It is very committed to their role for the community.
David Sheldon, Audience and Programme Manager, came to the Gallery five years ago from a background in environmental science. He admits he has been a collector from childhood and seems to have found his natural home. David heads the Exhibitions and Collections Team, Curatorial Team and the Learning and Audience Engagement Team and says he does this much in the way a conductor of an orchestra leads by bringing different instruments together to make music.
