Castlemaine Art Gallery and
Historical Museum Review
10 August 2015
Castlemaine Art Gallery and Historical Museum Review
Neil Anderson Consulting Positive Solutions
1
Acknowledgements
Consultees
Nick Baker
Christine Henderson
Tony Nesbit (CAGHM)
Carolyn Bartholomeusz
David Hudson
Paul Northam
Ashleigh Campbell
Claire Hutchison
Martin Paten
Fay Chomley
Rob Jennings
Rev.Ken Parker (CAGHM)
Greg Cleave
Sue Jones
Andrew Pickles (CAGHM)
Angelica Clunes
Jennifer Kalionis (CAGHM)
Catherine Pilgrim
Georgia Cribb
Tegan Lang
(CAGHM)
Bryon Cunningham
David Leathem
Karen Quinlan
(CAGHM)
Russell Lineham
Jo Ransom
David Cunningham
Peter Lukaitis (CAGHM)
Deborah Ratliff (CAGHM)
(CAGHM)
Kathryn MacKenzie
Anne Robertson
Carolyn Deighton
Laura Miles
Phil Rowland
Stephen Dempsey
George Milford (CAGHM
Jan Savage (CAGHM
Tony Ellwood
Chairman of Trustees,
President– Committee of
Amanda Every
Stoneman Foundation
Management)
Neil Fettling
Trustee)
Aileen Walsh
Pat Grumont
Julie Millowick
Lauretta Zilles
Cara Hall (CAGHM)
Jilian Mulally
Consultation and Benchmark Organisations
Benalla Art Gallery Bendigo Art Gallery Bendigo Tourism Buda Historic Home and Garden
Business Mount Alexander CAGHM Trustees CAGHM Committee of Management
Castlemaine Festival Creative Victoria La Trobe Art Institute Gippsland Art Gallery Hamilton
Art Gallery MC2 Manningham Mount Alexander Shire Council Museums Australia (Victoria)
National Gallery of Victoria NETS Victoria New England Regional Art Museum New South
Wales Pataka New Zealand Public Galleries Association of Victoria Regional Development
Victoria Te Takere New Zealand VAC at La Trobe University Warrnambool Art Gallery
Project Control Group
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Table of Contents
Acknowledgements
2
Table of Contents
3
Methodology
10
Part One - Corporate Structure ........................................................................................ 12
1. Introduction
12
2. Governance
12
3. Future Governance Options
14
4. Reporting Processes
21
Part Two - Strategic Direction .......................................................................................... 22
1. Introduction
22
2. Vision and Mission
24
3. Values
24
4. Target Audiences
25
Part Three - Staging of Works.......................................................................................... 28
1. Introduction
28
2. Key Actions Phase One
31
3. Key Actions Phase Two
40
4. Collections
47
5. Risk Management and Mitigation
48
Appendices ....................................................................................................................... 51
Appendix One: Learning Styles
62
Appendix Two: Bibliography
54
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Executive Summary and Recommendations
Executive Summary
Regional Victoria has undergone significant change in the profile of key cultural
organisations. Of particular relevance to CAGHM is the 21st century ‘Bendigo Effect.’ This has
seen innovative visual arts and historical activity in both the care of collections and in the
engagement of massive new audiences. The performance of Bendigo Art Gallery has been
crucial within this change.
CAGHM has progressed its development of visual arts and social history collections through
an esteemed history. It is time for CAGHM to grasp the nettle, and strive for greater
engagement with people, strive for greater positive impact upon the community and visitors,
and ensure a sustainable future.
CAGHM’s Committee of Management and Trustees, and key stakeholders Creative Victoria
and Mount Alexander Shire, are clear about the organisational aspects needed to support
this step change.
This review is focused upon the highest level concerns for a cultural organisation: the
governance, sustainability, strategic direction, and operations.
Corporate Structure:
The consultants recommend that CAGHM continues to operate as an independent
organisation while building relationships with key stakeholders. The question of introducing
more substantial alterations to the operating arrangements should be reviewed in two to
three years in light of CAGHM’s progress and in light of how these stakeholder relationships
have evolved.
However, the consultants regard incorporation of CAGHM as a high priority. This provides
the members, and more particularly the Committee, with protection from unnecessary
exposure to financial liability. It is unlikely that there are any other independently operated,
publicly funded galleries in Australia which remain unincorporated.
The consultants recommend that CAGHM incorporates as a company limited by guarantee.
The current rules or Constitution of CAGHM provide far less detail than is usual. The
Australian Charities and Not for-profits Commission (ACNC) has recently released a model
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Constitution for a non-profit company limited by guarantee. This model, and Constitutions in
use by other independently operated cultural organisations, provides a guide to the format
which CAGHM’s Constitution should adopt.
Whether or not incorporation is pursued the consultants recommend that a new Constitution
be developed and adopted by CAGHM Committee of Management.
In the event that CAGHM remains an independent organisation it is recommended that the
following internal and stakeholder reporting arrangements be observed:
CAGHM’s work will be framed by a medium-term vision (five or six years, to link with likely
State and Federal funding cycles), a regularly updated strategic plan, and one -year
operational plans which underpin the strategic plan.
Strategic Direction – Mission, Vision, Target Audiences
The review process has highlighted factors that are critical to CAGHM’s future direction.
These include the clear sense of value that CAGHM must provide to its potential users from
the region, and to other visitors. This value must compete with powerful leisure time
competition, including the current rise in home based learning and entertainment.
Accordingly, the vision and mission statements emphasise the value of destination, and they
ask CAGHM to seriously and scientifically focus on its potential audiences. The statements
highlight the importance of the collections, and the need for their varied interpretation.
The strategic direction also seizes upon unique qualities available within the region. The
region’s creative communities provide unique programming, facilitation, retail, and
partnership opportunities that CAGHM should be optimising. The review feedback also
highlights that this local creative activity is broad, encompassing visual arts and design,
history and industry.
The economic sustainability of CAGHM underpins its mission and along with the corporate
structure, must be the key initial focus for the organisation.
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Vision
We strive to be:
A compelling arts and culture destination that embraces our community of Central
Victoria; where we enjoy our outstanding collections, delight in our creative
communities, and experience the unique qualities and stories of our region.
Mission
Our purpose is:
We provide a sustainable cultural centre that is integral to the lives of people in our
region, and a must-do for visitors. We will achieve this through offering an
irresistible visitor experience, and through engaging interpretation of our visual arts,
design, industry, and history.
Target Audiences
We need to ensure that the strategic plan provides clarity about target audiences. They need
to be scientific, applicable and measurable. We need to ensure that there is a clear and
logical connection between the needs/perceptions/barriers of target audiences, and the
vision, mission, and CAGHM’s key objectives.
The strategic plan’s audience targeting will focus upon specific psychographic segments,
and specific niche audiences with business, educational and other motivations.
Psychographic segmentation involves dividing your audiences into segments based upon
different personality traits, values, attitudes, behaviours, interests, and lifestyles. In
CAGHM’s case, segmentation is focused on leisure behaviour and the arts.
The target psychographic segments will be Morris Hargreaves McIntyre’s: Affirmation,
Enrichment, Expression, and Essence.
Staging of Works
These activities are driven by the strategic direction, and by the target audiences.
There are two major phases of work to be undertaken. The first phase has a primary focus
on the organisation’s capacity, sustainability and capability. These are the bedrock
characteristics that will allow the organisation to significantly improve its public impact. The
second phase focuses on transformational work upon the organisation’s brand – in the
fullest sense.
This transformational activity includes significant work on the organisation’s: services,
experiences, programming, spaces, charges, and consequentially, its marketing and public
perception.
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Summary of Recommendations
1. CAGHM continues to operate as an independent organisation while building
relationships with key stakeholders.
2. CAGHM incorporates as a company limited by guarantee.
3. A new Constitution be developed and adopted by CAGHM Committee of Management.
4. In the event that CAGHM remains an independent organisation, that the following
internal and stakeholder reporting arrangements be observed:
4.1. CAGHM’s work will be framed by a medium-term vision (five or six years, to link with
likely State and Federal funding cycles),
4.2. a regularly-updated strategic plan, and
4.3. one-year operational plans which underpin the strategic plan.
5. The board revises its structure and processes:
5.1. The board periodically reviews the structure of board agendas and the time devoted
to performance and compliance matters
5.2. When possible, the frequency of board meetings be reduced – perhaps to sixweekly or bi-monthly – with strategy sessions, working groups, sub-committees
meeting in-between these times
5.3. The size of the board be reduced to no more than nine
5.4. Board composition be reviewed – in addition to finance, legal, visual arts/ heritage
experience it would serve CAGHM well for the board to have marketing/
communications, commercial/ business, fundraising, business partnerships/
sponsorship expertise. Some individuals will address more than one of the skills
needs
5.5. The nature and detail of board papers be reviewed within the next few months, and
again in twelve months’ time, to ensure they are as efficient and economical as they
can be, consistent with the board fulfilling its obligations.
6. Options for the membership structure of the incorporated entity are considered and
decided upon:
Because CAGHM exists to serve the wider community there is a question over the most
appropriate membership model within a new Constitution. The members represent a
valuable source of support and a significant connection to the community. However, the
members’ control of board composition may prove constraining – with a need to regularly
refresh and evolve board skills to meet the Gallery’s changing circumstances and
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opportunities.
Two options for CAGHM’s membership structure are proposed for consideration:
6.1. The existing membership (of c.600 people) are transitioned into the new
membership structure i.e. become ‘legal’ members of the newly incorporated body.
In order to give the board the flexibility to build its skills base, the membership would
elect five board members (for a fixed term of, say, three years, renewable for a
second term), with the remaining four board positions, and any casual vacancies,
being co-opted by the board (and also subject to fixed terms). Officers of the board
would be selected by the board itself, not by the general membership.
6.2. The existing membership are transitioned into a new ‘Friends’ organisation. The
new, smaller board become the only legal members of the incorporated
organisation. As new board members are selected, by-co-option, they automatically
become members of the Association/ Company. When they leave the board they
also cease to be members of the Association/ Company.
An advantage of the first option is that no-one will feel disenfranchised by the
changes, and that the board is held accountable to this wider group. A disadvantage
is that AGMs become increasingly unwieldy, and that the board’s power of co-option
is more limited. Advantages of the second approach are that the link with supporters
is retained through the Friends organisation, that significant strategic decisions are
easier to manage, and that the board maximises its ability to evolve with the needs
of the organisation.
7. Recommended Vision
We strive to be:
‘A compelling arts and culture destination that embraces our community of Central
Victoria; where we enjoy our outstanding collections, delight in our creative communities,
and experience the unique qualities and stories of our region.’
8. Recommended Mission
Our purpose is:
'We provide a sustainable cultural centre that is integral to the lives of people in our
region, and a must-do for visitors. We will achieve this through offering an irresistible
visitor experience, and through engaging interpretation of our visual arts, design,
industry, and history.'
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9. Recommended Corporate Values
9.1. Customer focus – respondents universally discussed the importance of this
attribute from external and internal customer perspectives. They indicated a desire
to see customer focus as something that requires constant effort, training and
authenticity.
9.2. Scholarship – respondents raised the issue of scholarship and quality as a required
value for the organisation – of great importance for both the collection research, and
visitor and market research functions.
9.3. Respect – respondents noted that the notion of ‘respect’ is almost an expected
given of human behaviour. However they also noted that although respect may be
thought of as a ‘given,’ it may not actually be a reality in many work places.
Respondents see respect as a crucial value for unifying visitors, staff, management,
and governance.
9.4. Pleasure – respondents noted that the vast majority of potential visitors to the
organisation were facing very competitive leisure choices. Respondents noted that
the organisation’s services and experiences need to collectively show a sense of
reward and value for potential visitors. Respondents noted that the organisation
should not promise reward as ‘something that is going to be good for you,’ but
instead, noted that the organisation needed to live and breathe pleasure.
9.5. Integrity – respondents noted the particular importance of integrity for cultural
organisations receiving public funding, and for holding collections.
10. Recommended definition of Target Audiences
We need to ensure that the strategic plan provides clarity about target audiences.
They need to be scientific, applicable and measurable. We need to ensure that there
is a clear and logical connection between the needs/perceptions/barriers of target
audiences and the vision, mission, and key objectives.
11.
Recommended staged works;
Phase 1 (2015-2016) capacity, sustainability and capability
Phase 2 (2017 onwards) transformation - greater public impact and reputation
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Project Introduction and Brief
Introduction
The Report is divided into five major sections; Executive Summary and Recommendations,
Corporate Structure, Strategic Direction, Staging of Works, and Appendices.
The Executive Summary includes the key overall recommendations.
The Corporate Structure and Strategic Direction sections provide report background and
detail. The Staging of Works section divides into two phases of activity: (1) Phase One 20152016 and (2) Phase Two 2017 onwards. Phase One is divided into ten tranches of work,
while Phase Two has six tranches. The tranches in each phase follow a logical order, but
this does not prevent CAGHM undertaking some tranches concurrently.
Project Brief
‘Mount Alexander Shire Council in partnership with Castlemaine Art Gallery and Historical
Museum is seeking a consultant or consortium to determine options for the Gallery in relation
to its vision, governance, and operations within the context of the region.
The review will be informed by and guided by input of key stakeholders. The options
will
be presented as a strategic document accompanied by articulated actions for the
implementation over a three year period.

To review Gallery operations, functions, governance, asset and building maintenance.

To engage key stakeholders in the development of a future plan for the
Castlemaine Art Gallery and Historic Museum.’
Methodology
March 2015
Commencement of project with inception meeting.
Project Control Group (PCG) provided detailed briefing for consultants.
In depth desktop and benchmarking research commenced.
Castlemaine Art Gallery and Historical Museum (CAGHM) provided all existing
strategy, policy and process documentation.
Key partners provided strategic direction material.
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April 2015
Detailed benchmark data accumulated.
Draft summaries produced.
Consultant team and PCG discussed areas of performance of best relevance and
value to CAGHM with the New England Regional Art Museum (NERAM) noted as
particularly strong.
Timetable, participants and consultation scripts agreed.
Interviews with key stakeholders commenced online, by telephone and in person.
Governance interviews commenced and included group working sessions with the
PCG and CAGHM Committee of Management.
Production of a non-attributed record and summary of consultations.
Production of two key working documents:
1. CAGHM Structure
2. CAGHM Strategic Direction
May 2015
PCG provided detailed feedback and direction regarding key working documents.
Development of core material for governance, strategic direction, and associated
staged works for 2015 – 2018.
Development of briefing materials on governance for stakeholders, CAGHM.
Management Committee and for Membership.
Stakeholder workshop on governance in Castlemaine.
Facilitated evening Q & A session with CAGHM membership (attended by 60
people).
Project Control Group participated and supported these sessions. This process
allowed for clear recommendations to be developed regarding governance.
Additional discussion with PCG regarding Vision options for CAGHM’s short and
medium term future.
June/July 2015
Finalisation of Vision options and Governance recommendations.
The project’s 80% draft report provided to the PCG.
Project Control Group commentary provided by July 3.
Completion of the 100% Report July 13.
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Part One - Corporate Structure
1. Introduction
Neil Anderson Consulting and Positive Solutions were engaged to provide advice on the
future vision for the Castlemaine Art Gallery and Historical Museum (CAGHM) and its future
corporate structure and governance arrangements.
This report:
1. Provides comment and recommendations on Board/ Management Committee processes
and best practice
2. Presents the options which were identified for future corporate structure of CAGHM, and
some of the advantages and disadvantages of these
3. Proposes a phased approach to the development of CAGHM’s structure and governance
The report, prepared by Positive Solutions, was based on interviews with key stakeholders,
the preparation of a discussion document, feedback from members of the Project Control
Group, a workshop with stakeholders, and a consultation session attended by c.60 members
of CAGHM.
2. Governance
Governance describes the way in which companies and other organisations are directed and
controlled, and how they deal with the interests of their customers, shareholders, employees
and society. In relation to an arts organisation, governance arrangements include:

The operating framework within which programming/ activation, marketing, financial
planning and other activities occur

Responsibility for strategic direction and momentum

The ways in which the organisation is held accountable to its stakeholders and compliant
with legal and regulatory requirements
Current structure and governance of CAGHM
Both CAGHM and nearby Buda are owned and controlled by an unincorporated Trust.
There are currently two Trustees (and one vacancy). The appointment of Trustees is in
control of the CAGHM Committee, and their powers are as authorised by CAGHM. The
Deed confirms that the Trust is to hold any new CAGHM assets acquired in the future.
CAGHM and Buda each has a separate Management Committee responsible for operations
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of that facility. In the case of Buda the Management Committee is part of an incorporated
body, while CAGHM is unincorporated. CAGHM’s Committee currently has 13 members
(and three vacancies). They oversee the work of CAGHM Director and staff.
The CAGHM Committee meets monthly. There are currently three sub-committees: Finance
and Executive, Building and Assets and Collections and Acquisitions.
Selected issues relating to current governance arrangements

Size of Committee: there is currently a Committee of 16 – much larger than is normal for
an independent arts organisation

Recruitment and skills of Committee: the recent addition of new professional skills to the
Committee, along with the appointment of a new Director, reflects a change in
momentum for CAGHM

Backlog of systems development: there has been an informality to CAGHM’s policies,
procedures and asset management processes which has left the organisation lagging
behind current best practice, and created a backlog of work for Director and Committee

Vision: there is a need to ensure a clear, common vision for the future of CAGHM –
owned by both internal and external stakeholders

Inadequate staffing, and over-dependence upon Director: the Director is working
unreasonably long hours to compensate for the lack of human resources in the
organisation currently. This relates partly to unfilled posts but also the need to enhance
overall staffing levels to fulfil the potential of CAGHM

Several interviewees expressed the view that there had been some previous lapses in
governance practices, and a history of limited planning and control

Incorporation and the Stoneman Foundation: the terms of the late Stuart Stoneman’s will
bar the Foundation he established from donating to CAGHM if it becomes an
incorporated body

Constitution: Although it is unincorporated CAGHM has a basic set of rules (a
Constitution) which describe categories of membership and the procedures for
appointing the Committee and Officers of the Committee. At less than four pages this
document is far less detailed than is normal for the Constitution of an association or
company, and provides less guidance and clarity than is necessary to ensure that the
organisation is governed in a manner consistent with current expectations, including
those mandated by the Australian Charities and Not-for-profits Commission

Low level of financial commitment from and engagement with Shire Council: Mount
Alexander contributes less than 10% of CAGHM income. Other regional galleries
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typically receive 60%+ of income from their local government, and often with a higher
financial turnover. Historically, there has been poor engagement between CAGHM and
the Council, although this is changing

High dependence upon State Government: Creative Victoria’s funding as a percentage
of total income averages approx. 14% across Victorian regional galleries. A few galleries
in rural towns many hours from Melbourne receive up to 25%, but only Castlemaine
receives more than 30%. In 2013/14 Castlemaine received approx. 37% of its income
from Creative Victoria. This is considered an unsustainable position
CAGHM receives a high proportion of private sector support compared with other galleries:
nevertheless, there appears to be opportunity for expansion of CAGHM’s fundraising and
corporate partnership activity, although this requires appropriate resourcing.
Most Victorian regional galleries are operated by local government, but some have a
foundation for fundraising and acquisition purposes.
3. Future Governance Options
There are two aspects of future governance arrangements for CAGHM which require
consideration – board and reporting processes, and overall corporate structure. Bearing in
mind that under some structural options there might not be a board (or ‘management
committee’) for CAGHM, the issue of board and reporting processes is considered first.
Board processes
The purpose of a board is to provide strategic direction and ensure legal and regulatory
compliance by the organisation. This is sometimes described as ‘performance’ and
‘conformance’. The way in which a board apportions its time to these two elements needs to
vary according to the organisation’s current situation. When the finances are in good order
and the CEO is settled into the post the board may add greatest value by focusing more time
on strategizing and longer-term planning, as well as addressing improvements in process or
quality. When the finances are unstable, or there is a new CEO in post or specific HR or
other problems, the board will need to attend more to the detail of compliance and
monitoring, to protect the organisation.
Across the non-profit sector in general, including within the arts, the size of boards has been
shrinking. It is now typical for an arts organisation to have a board of six to nine people,
because a smaller group tends to be more highly engaged and committed, is easier to
convene, and feels a higher sense of personal responsibility than a large group. Six to nine
is, however, large enough to share the workload.
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It is also now common for arts organisations to address board recruitment in a targeted way
– looking at the skills and aptitudes needed on the board, and seeking out individuals who
will meet those needs, and who are interested in the work of the organisation. Where the
Constitution (or ‘rules’) make strategic recruitment difficult, organisations are changing their
Constitution. In an environment which is increasingly competitive and demanding no arts
organisation can afford to settle for less than the strongest board it can create. It may be
unpaid, but the board has a serious job to do.
The Committee is currently served with detailed board papers. This is commendable, and
the consultants would not want to discourage good information. However, in light of the very
thin staffing CAGHM enjoys it is important for board papers to be as economical as possible,
consistent with meeting board objectives. The papers have the flavour and detail of
government documentation – or of the papers of a larger and better-resourced organisation.
To some extent the level of detail and the formality of current board papers will be a reaction
to a previous lack of attention to process and policy, and reflects a determination to
professionalise CAGHM’s governance. But it could also become very time-consuming for
staff and possibly board members who are providing the documentation.
In light of these observations the consultants recommend that:
1. The board periodically review the structure of board agendas and the time devoted to
performance and compliance matters
2. When possible, the frequency of board meetings be reduced – perhaps to six-weekly or
bi-monthly – with strategy sessions, working groups, sub-committees meeting inbetween these times
3. The size of the board be reduced to no more than nine
4. Board composition be reviewed – in addition to finance, legal, visual arts/ heritage
experience it would serve CAGHM well for the board to have marketing/ communications,
commercial/ business, fundraising, business partnerships/ sponsorship expertise. Some
individuals will address more than one of the skills needs
5. The nature and detail of board papers be reviewed within the next few months, and
again in twelve months’ time, to ensure they are as efficient and economical as they can
be, consistent with the board fulfilling its obligations.
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Corporate structure
The advice which the consultants provide on the corporate structure arrangements will need
to be complemented with further legal counsel. The consultants recognise that there has
been both written and verbal legal advice provided regarding issues of asset ownership, tax
exemption and other matters which have a bearing on the structural choices or their
implementation.
The consultants do not believe there is a reason to alter the arrangements for CAGHM’s
Trust. The existence of a separate (although it may be overlapping) group charged with
stewarding the assets of CAGHM is prudent, and is a model which has been adopted by
other galleries and museums. It protects the assets against short-term fluctuations in
CAGHM’s financial fortunes.
Regarding the operations of CAGHM, there are several high-level options for the future
structural arrangements:
1. Continue with the present arrangements, addressing improvements in board
processes as above, while formalising and strengthening relationships with Shire
Council, Castlemaine State Festival, and with other stakeholders and potential
partners
2. Establishing CAGHM or its operating entity as an incorporated association or
company limited by guarantee
3. Being directly operated by Shire Council
4. Being operated by a Special Committee (Section 86) of Shire Council
5. Establishing CAGHM as a controlled entity of Shire Council – a company limited by
guarantee or shares with Council as the member or shareholder
6. Contracting the operations of CAGHM to another cultural organisation, such as a
larger regional or State gallery
7. Becoming a unit or subsidiary entity of another cultural organisation, such as a larger
regional or State gallery
In order to evaluate these options a number of criteria or questions are suggested:
a. The access which the option provides to assets, skills and resources which assist
CAGHM in delivering its mission
b. The degree to which the option supports fundraising and other income generation
c. The willingness of Creative Victoria, as major funder currently, to support the option
d. The impact which the option has on each of CAGHM’s major stakeholders
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e. The impact the option has on CAGHM’s brand and profile
f.
The deliverability of the option – how practical it is to implement - including its
acceptability to funding stakeholders
The following table provides some commentary on each of the options:
Continue with the
present arrangements



Avoids the challenge
of change
No cost
Some improvements can be
effected within current
structure e.g. Committee
size and processes





Establishing CAGHM
or its operating entity
as an incorporated
association or
company limited by
guarantee





Being directly
operated by Council





Reflects current best
practice and reassures
funders and donors
Reduces personal risk
exposure of Committee
Opportunity to modernise
the Constitution of the
operating entity and to
rationalise membership
Opportunity to clarify
relationship with the Trust
State Government would
support this model in the
short-term
Access to financial, IT,
marketing, asset
management expertise
Closer relationship may
encourage increased
financial commitment from
Council
Alignment with emerging
Council cultural strategies
Common practice at most
other regional public
Galleries
State Government
would support this
model
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







State and Local government will
not continue to accept
unincorporated status beyond an
agreed transition period
Other agencies may not continue
to accept unincorporated status
Personal risk exposure for
Committee members
Lack of clarity over respective
responsibilities and liabilities of
Trust and Committee
There has been a history of
poor governance under current
arrangements
Time and costs
Possible member resistance
through fear of losing control
Requirement to comply with
relevant legislation (however,
funding body and ACNC
requirements are set at similar level)
Possible disruption to or loss of
Stoneman Foundation support
Possible disruption to or loss of
Stoneman Foundation support
Council unready for this level
of engagement and
commitment
Council resources already stretched
– unable to provide further logistical
support to CAGHM
Corporate partnerships and
philanthropic support may be
more challenging
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Being operated by a
Special Committee of
Council


Establishing CAGHM
as a controlled entity
of Council





Contracting the
operations of CAGHM
to another cultural
organisation




Becoming a unit or a
subsidiary entity of
another cultural
organisation





As above, but with a greater
degree of day-to-day
autonomy
State Government could
possibly support this model


Arms-length arrangement
from Council facilitates dayto-day autonomy
Customised systems and
decision-making processes
Dedicated board
A degree of brandindependence which
may assist fundraising
State Government could
possibly support this model
Access to relevant expertise,
systems and experience
Economies of scale
Access to governance
and artistic leadership
Does not require
Constitutional or
structural change

Access to relevant expertise,
systems and experience
Economies of scale
Access to governance
and artistic leadership
Potentially, stronger balance
sheet and cash flow
Benefits from other
organisation’s goodwill,
stakeholder and
philanthropy relationships














As above
Section 86 Committees are
precluded from borrowing money,
and from entering into contracts
or expenditure commitments
above Council-approved levels
Can be subject to political
interference through controlling
board appointments
May be seen as less worthy of
philanthropic support than a fully
independent organisation
May be an unfamiliar mechanism for
Council
Risk to independent brand
Any contracted entity would require
a management fee
There may be no
organisations willing to adopt
this role
Potential conflicts of interest (e.g.
in fundraising, resource allocation,
programming)
May not be acceptable to
Statemergers
Government
Arts
are uncommon – an
untrodden path
There may be no organisations
willing to adopt this role
Ownership and liability issues may
be difficult to resolve
Difficult to guarantee appropriate
investment into CAGHM’s future
development
Risk to independent brand
Possible disruption to or loss of
Stoneman Foundation support
May not be acceptable to
State Government
It is possible that some of the advantages identified under one option could be secured
under another. For example, as an independent organisation CAGHM might contract
services from another cultural organisation or from Shire Council.
Commentary
The recent appointment of a new Director, and changes in the composition of CAGHM
Committee, have led to an energetic program of change in the organisation’s operations,
staffing and systems. The present consultancy is part of this process, prompted by a
recognition by Creative Victoria and others that there is a need for clearer articulation of
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vision and direction, more robust board/ Committee practices, and changes in corporate
structure arrangements.
The consultants commend CAGHM Director and Committee members for the energy and
dedication they have displayed in strengthening CAGHM’s policy framework and operating
procedures. The consultants take the view that:

It will be in CAGHM’s interests to complete this process of systems/ operations
improvements before entering into discussion with third parties regarding different
corporate structural arrangements. CAGHM would then be negotiating from a position of
greater strength

The momentum for change which has been developed could be disrupted by any
significant changes in corporate structure in the short-term

The relationship with Shire Council is improving, but it is unlikely that Council would be
ready to consider full absorption of CAGHM into Shire operations in the short term
(although this is a proposition which has not been formally tested)

It is likely that any discussion with Bendigo Art Gallery, NGV or others regarding
operation of CAGHM would require extended discussion – over years rather than months

In the short term there are opportunities to build collaborative relationships and
potentially to share or contract services from the Shire, Bendigo Art Gallery, NGV,
Castlemaine Festival and others. For example, Shire Council could assist by
administering CAGHM’s payroll, providing IT support and asset management and
maintenance services, and by including CAGHM staff on relevant training programs.
The NGV has the ability to provide exhibition design advice. Castlemaine Festival and
CAGHM could cooperate on education programs and resources. Some of these
initiatives are already in hand
For these reasons the consultants recommend that CAGHM continue to operate as an
independent organisation in the short-term, while building relationships with these and other
external stakeholders. The question of introducing more substantial alterations to the
operating arrangements should be reviewed in eighteen months to two years in light of
CAGHM’s progress and in light of how these stakeholder relationships have evolved.
However, the consultants regard incorporation of CAGHM as a high priority. This provides
the members, and more particularly the Committee, with protection from unnecessary
exposure to financial liability.
CAGHM could become an incorporated association or a company limited by guarantee. The
reporting requirements for associations are less onerous than for companies, and
correspondingly cheaper. However, the reporting and acquittal requirements of funding
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bodies (including State and Federal Government agencies) eliminate this advantage.
Funded arts organisations have to prepare audited accounts and to report in detail on their
activities and results.
While the Corporations Act sets the bar higher in relation to governance practises many
potential board members – especially from the professional and corporate sectors – feel
greater familiarity with and confidence in company structures than in associations. There is
a perception that companies are more ‘professional’. Moreover, the standards of
governance established by the Australian Charities and Not for Profit Commission and now
imposed by law have to be met by any non-profit organisation registered with the
Commission, and registration is necessary to maintain tax-deductibility for philanthropic
purposes. In short, the boards (or management committees) of non-profit organisations now
have to display the diligence and professionalism that is typical of a company. For these
reasons, an increasing number of arts organisations are transitioning to company status –
and many new arts organisations opt for company status at their inception.
The consultants recommend that CAGHM incorporate as a company limited by guarantee,
with a board not exceeding nine people.
This recommendation raises the question of whether support from the Stoneman Foundation
may be forfeited, given the stipulation in Stuart Stoneman’s will that CAGHM must remain an
unincorporated body. A possible solution would be to incorporate the operating body
(CAGHM membership and Committee) while leaving the Trust unincorporated. It might be
argued that the ‘Gallery’ consists of the building and collection, and that these remain
unincorporated. Regardless of whether this argument is accepted by the Foundation, the
consultants’ view is that Gallery incorporation is necessary, not optional, and that the
relationship with the Stoneman Foundation will need to be worked around this new legal
status.
As mentioned earlier the current rules or Constitution of CAGHM provide far less detail than
is usual. The Australian Charities and Not-for-profits Commission has recently released a
model Constitution for a non-profit company limited by guarantee. This model, and
Constitutions in use by other independently operated cultural organisations, provides a guide
to the format which CAGHM’s Constitution should adopt. Whether or not incorporation is
pursued the consultants recommend that a new Constitution be developed and adopted by
the CAGHM Committee, consistent with current best practice, and that this be submitted to
the general membership for approval.
Because CAGHM exists to serve the wider community there is a question over the most
appropriate membership model within a new Constitution. The members represent a
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valuable source of support and a significant connection to the community. However, the
members’ control of board composition may prove constraining – with a need to regularly
refresh and evolve board skills to meet the Gallery’s changing circumstances and
opportunities. Three options for CAGHM’s membership structure are proposed for
consideration:
1. The existing membership (of c.600 people) are transitioned into the new membership
structure i.e. become ‘legal’ members of the newly incorporated body. In order to give
the board the flexibility to build its skills base, the membership would elect five board
members (for a fixed term of, say, three years, renewable for a second term), with the
remaining four board positions, and any casual vacancies, being co-opted by the board
(and also subject to fixed terms). Officers of the board would be selected by the board
itself, not by the general membership.
2. The existing membership are transitioned into a new ‘Friends’ organisation. The new,
smaller board become the only ‘legal members’ of the incorporated organisation. As
new board members are selected, by-co-option, they automatically become members of
the Association/ Company. When they leave the board they also cease to be members
of the Association/ Company.
3. The existing membership are transitioned into a new ‘Friends’ organisation, while a small
group of members - who may comprise a selection from current members or new
members - is established to be the ‘stewards’ of the organisation, and to control future
board appointments. They become the only ‘legal members’.
An advantage of the first option is that no-one will feel disenfranchised by the changes, and
that the board is held accountable to this wider group. A disadvantage is that AGMs
become increasingly unwieldy, and that the board’s power of co-option is more limited.
Advantages of the second approach are that the link with supporters is retained through the
Friends organisation, that significant strategic decisions are easier to manage, and that the
board maximises its ability to evolve with the needs of the organisation. A possible
disadvantage is that there is no ‘backstop’ or group of stewards to steer the organisation if
there are future tensions or problems within the board. The third option also maintains the
linkage with current supporters and provides a stewardship group – but has the
disadvantage that if some existing members are selected to be the stewards (or ‘legal
members’) others may feel disenfranchised.
4. Reporting Processes
In the event that CAGHM were directly operated by Shire Council the reporting procedures
would be determined by the Council in keeping with its normal policies and line management
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arrangements, and with reference to the reporting arrangements in place at other local
government owned and operated Galleries. Similarly, if CAGHM became part of another
cultural organisation, its reporting processes would be determined by that organisation and
through negotiation with Creative Victoria and the Shire Council.
In the event that CAGHM remains an independent organisation it is recommended that the
following internal and stakeholder reporting arrangements be observed.
Internal
CAGHM’s work will be framed by a medium-term vision (five or six years, to link with likely
State and Federal funding cycles), a regularly-updated strategic plan, and one-year
operational plans which underpin the strategic plan. The work of the Director and staff team
will be guided and monitored by a performance management and appraisal system which
links directly to the outputs and KPIs in the operational and strategic plans.
The Director’s reports to the board will be supplemented by three or six-monthly reviews of
progress against the operational and strategic plan.
Stakeholder
The board will ensure that funding agency reporting and acquittal requirements are fulfilled,
and will:
1. Report progress to the membership at least annually
2. Maintain regular communications with any supporters or friends group, including at least
one annual meeting where the board directly meets with this constituency
3. Play an active part in stakeholder communications and partner cultivation
Part Two - Strategic Direction
1. Introduction
The review has thrown up a broad range of viewpoints regarding the direction for the next
three to six years of CAGHM.
Benchmarks have also provided good guidance around CAGHM’s current and future
performance.
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Creative communities
Across all respondents there is at least one common theme. This is the notion that CAGHM
should be concentrating on the unique opportunities and characteristics of its area, and
particularly: to be cognisant of the Shire’s large creative communities. To respondents,
‘creative communities’ in this area are viewed as very broad, and include: industrial design
and manufacturing, visual and performing arts practitioners, community artists, literary arts,
gaming design and all forms of digital arts, and living heritage. As one respondent said – ‘it’s
not a narrow hipster theme park!’
No respondents took the view that CAGHM should continue its national focus on Australian
art in collection development or interpretation. Respondents noted that this previous focus
had delivered some excellent collection strengths. But over time, this focus meant that
CAGHM had missed out on: the opportunities brought by the region’s burgeoning creative
scene and, relevancy to the region’s contemporary life and issues.
Broad interpretation
Respondents noted that the existing art and social history collections should be maintained
and interpreted in diverse ways, in the same way that this would apply to future acquisitions.
Respondents noted the national significance of genres within the existing collection. But
respondents also noted that many national profile artists and designers resident in the area
were not present in the collection nor were present in previous programming. Indigenous
respondents raised the question of, ’Who defines nationally significant artistic practice?’
Demarcation and performance
These viewpoints segue with additional questions from respondents about how CAGHM
could effectively demarcate itself within Victoria, and within Australia as a whole.
The cultural, social and economic strategies of the State government, particularly Creative
Victoria and Regional Development Victoria, Mount Alexander Shire, and Bendigo Regional
Tourism share a desire for tangible and measured impacts from cultural organisations such
as CAGHM. Accordingly, CAGHM’s performance within cultural tourism, the quality of Shire
life, and participation rates in art-making and arts participation, is of strong interest.
Respondents discussed in detail their views of CAGHM’s vision, mission, values, target
audiences and the type of objectives that need to be achieved in the short term.
However, not surprisingly, respondent discussion around the future purpose and impact of
CAGHM showed both common themes and divergences. No one lacked chutzpah.
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Project Control Group
The definition of CAGHM’s future vision is crucial, so that the next three to six years of work
have a very tangible and achievable direction.
The review process saw the Project Control Group grapple with the consultation results and
with the performance data from benchmark organisations. The Project Control Group
followed this analysis with iterative development of a new mission and vision for CAGHM.
2. Vision and Mission
Recommended Vision
We strive to be:
‘A compelling arts and culture destination that embraces our community of Central
Victoria; where we enjoy our outstanding collections, delight in our creative
communities, and experience the unique qualities and stories of our region.’
Recommended Mission
Our purpose is:
'We provide a sustainable cultural centre that is integral to the lives of people in our
region, and a must-do for visitors. We will achieve this through offering an irresistible
visitor experience, and through engaging interpretation of our visual arts, design,
industry, and history.'
3. Values
Recommended Corporate Values
The corporate values for the organisation were not specifically noted within the brief of the
CAGHM review. However the consultation process has highlighted the expectation that
stakeholders have, for a clear set of values around the organisation’s culture and behaviour.
Customer focus – respondents universally discussed the importance of this attribute from
external and internal customer perspectives. They indicated a desire to see customer focus
as something that requires constant effort, training and authenticity.
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Scholarship – respondents raised the issue of scholarship and quality as a required value
for the organisation – of great importance for both the collection research, and visitor and
market research functions.
Respect – respondents noted that the notion of ‘respect’ is almost an expected given of
human behaviour. However they also noted that although respect may be thought of as a
‘given,’ it may not actually be a reality in many work places. Respondents see respect as a
crucial value for unifying visitors, staff, management, and governance.
Pleasure – respondents noted that the vast majority of potential visitors to the organisation
were facing very competitive leisure choices. Respondents noted that the organisation’s
services and experiences need to collectively show a sense of reward and value for potential
visitors. Respondents noted that the organisation should not promise reward as ‘something
that is going to be good for you,’ but instead, noted that the organisation needed to live and
breathe pleasure.
Integrity – respondents noted the particular importance of integrity for cultural organisations
receiving public funding, and for holding collections.
4. Target Audiences
Background
There is limited data for CAGHM’s existing visitor profile. Broad visitation numbers are
known and reported to key funders. Scientific analysis of CAGHM’s impact upon users, has
not been undertaken. From the benchmark research we know that CAGHM’s penetration
rate of its one hour drive time population is low, compared to other Victorian regional
institutions.
This situation highlights the great potential CAGHM has for engaging broader audiences and
for encouraging greater repeat visitation. The situation also highlights the crucial need to
define CAGHM’s intent with audiences, and to measure its performance against this intent.
We need to ensure that CAGHM’s future strategic plan provides clarity about target
audiences. They need to be scientific, applicable and measurable. We need to ensure that
there is a clear and logical connection between the needs/perceptions/barriers of target
audiences and the vision, mission, and key objectives.
Audience targeting will focus upon the needs, interests, barriers and perceptions of specific
psychographic segments, and specific niche audiences with business, educational and other
motivations.
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Audience targeting is based upon internationally recognised and applied audience models.
How target audiences are applied
The organisation will be using scientific target audiences for the following reasons:
Influence the total experience: Along with the vision, mission and key objectives –
target audiences will strongly mould: the new organisation brand, the Master Plan for
the existing site, decisions to be made on the range and style of services and
facilities, and the programming strategy. This is akin to creating a new organisation,
or an organisation in a major move forward.
The targeting of individual programs and services.
The marketing and public relations strategy and plan.
The interpretive approaches used by the organisation.
The organisation’s decision of which leisure segments it targets, has the most critical impact
on the influence of the total experience. (Leisure segments are based on psychographic
segmentation). Leisure segments are applicable to the Shire and region community, and to
the broader Victorian community. Also, for the purposes of relating this to the cultural
tourism market out of Melbourne, we note the strong fit with the Essence and Expression
segments.
Recommended Target Segments
The proposed Morris, Hargreaves, McIntyre (MHM) leisure segments to target are:
Enrichment, Essence, Expression, Affirmation
The high level implications of these segments are:
Enrichment Segment:
Unlikely to have children at home
Leisure time is closer to home
Interests in nature, heritage and traditional art forms
The arts provide a form of warm escapism
Likes to invest in membership and ripe for volunteering
Have established tastes and remain loyal to a small number of organisations
that cater well for their needs.
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Mainstream broadcast media channels and membership marketing
Affirmation Segment:
Family group focused – across learning and leisure styles: interactive,
immersive, atmospheric, and nostalgic
Social experiences
Informality
Family discounts and deals
Emphasis on entertainment as well as learning
Highly branded communication
Mainstream and popular broadcast and media channels
Active E-marketing
Expression Segment:
Social experiences
Cognitive and emotive stimulation
Experiences to physically do or make things
Include family group focused – across learning and leisure styles: interactive,
immersive, atmospheric, and nostalgic
Strong café and retail buyers
Public good, volunteer and campaign activities
Receptive to marketing communications that highlight opportunities for
participation
Essence Segment:
Authenticity
Deeper levels of information
Cognitive stimulation
Experiences with experts
High quality of presentation – in both physical and live interpretation
Strong café and retail buyers
Niche Audiences
For the purposes of the future Strategic Plan, target niche audiences are defined groups that
have a specific need from the organisation, such as a business activity or a curriculum
program. Some of these target niche audiences may also provide profitable income streams
for the organisation. The Project Control Group raised a range of possible niche audiences.
The consultants recommend prioritizing these niche groups based on alignment with the
strategic direction, the likely level of interest, economic return, and the ease of working with
them.
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Part Three - Staging of Works
1. Introduction
Two major phases of work
This section details two major phases of work to be undertaken.
The first phase has a primary focus on the organisation’s capacity, sustainability and
capability. These are the bedrock characteristics that will allow the organisation to
significantly improve its public impact.
The second phase focuses on transformational work upon the organisation’s brand – in the
fullest sense. This transformational activity includes significant work on the organisation’s:
services, experiences, programming, spaces, charges, and consequentially its marketing
and public perception.
Capital works
A strong theme of commentary from respondents was expectation around ‘critical capital
works’ and ‘highly desirable capital works’. Critical capital works are the control of light levels
in the public spaces, and temperature and humidity controls in areas of the building currently
without control. (From both a collection care and visitor comfort perspective).
Highly desirable works include consideration of physical improvements to the entry spaces,
freeing the lower ground floor for temporary programming, planning a lively
welcome/retail/coffee and treats/Wi-Fi/lounge environment, and consideration of public and
private income-earning spaces.
It is the Consultant Team’s view that the most risky security issues are dealt with as
promptly as possible.
Before significant money is spent on environmental conditions and ‘desirable capital works,’
a functional and spatial Master Plan analysis needs to be undertaken for the whole building
and adjacent spaces. This doesn’t need to be overly costly, but it is an essential technique
for ensuring prudent spatial use of the building, and thoughtful consideration for any future
physical expansion of the site.
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Phase One
2015 –
2016
E.
Development
and operation
of key policies
and systems
that underpin
the
organisation
A. Complete
strategic
plan and
commence
new
strategic
F. Define
needs and
recruit
versatile
staff
expertise –
contract
and/or
permanent
B. KPI data
sets defined
and data
collection
undertaken
C. Resolve
the
corporate
structure
and
associated
legal
framework
D.
Sustainable
income
streams, and
commence
funds
development
for Master
Plan capital
works
I. Collection
G.
grow
programming
where time
allows
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H.
Commission
spatial and
functional
Master Plan
and online
access to
social
history
J. Ongoing
matters
29
Phase
Two
2017onwards
E. Commence
newly
confirmed
collection
acquisition
policy
A. Upgrade the
organisation’s
integrated public
programming
B. Formally
share
experience
gained from
Phase One
C. Roll out
new Brand,
commence
Master Plan
facility
D. Major
Shire and
industry
familiarisat
ion
program
and public
launch
F. Emphasis on
marketing and
promotion
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2. Key Actions Phase One
Phase One 2015 – 2016
Context: Continued focus upon organisational capacity, sustainability and capability
A. Complete strategic plan and commence new strategic direction.
The CAGHM Review Report provides the framework material needed for a new 2015
to 2018 Strategic Plan. The overall strategic direction is in place with a clear vision,
mission, and organisational values. The target audiences are in place, and most
significantly, the four psychographic segments. The vast majority of suggested key
works for 2015 to 2018 reflect how the strategic direction directly references the
leisure behaviour requirements of target audiences. A small number of key works are
also required to reduce the organisation’s risks around economic sustainability and
capacity.
The 2015 to 2018 Strategic Plan will need to reflect both the high level direction of
the organisation, and the project-style nature of many activities to be undertaken
over this period.
B. KPI data sets defined and data collection undertaken.
To ensure that the 2015-2018 Strategic Plan and annual Business Plans can be
evaluated for their success, key performance indicators need to be developed.
This is in part, about helping the organisation to create a work culture of iterative
improvement. i.e. undertaking a direction, implementing activities, evaluating the
performance of these activities, and then improving the next round of activities with
these findings, and so forth.
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Undertake
direction
Evaluate
activities,
test against
direction
Improve
activities
Implement
activities
Evaluate
activity
performance
The KPIs are also essential for reporting the organisation’s success to Board,
funders, and to other stakeholders.
And, the KPIs will only be effective if responsibility for undertaking and reporting data
collection is clear through performance agreements with staff. The approach to data
collection methodologies, analysis and reporting will need to match the scale of the
organisation. Fortunately, new mobile digital methodologies are vastly reducing the
time and costs involved.
Due to the intense pressure and limited staff resources of Phase One, we recognise
that KPIs will initially need to focus on the successful implementation of key project
activities. However from Phase Two when more staff and time resources are
available, the KPIs will need to extend into setting targets with deeper quantitative
and qualitative aspects. The critical reason for this is the new vision for the
organisation – this stresses the need for KPIs to measure the actual impact being
made, and to measure who is being impacted.
C. Resolve the corporate structure and associated legal framework: Adopt new
constitution. Complete Board recruitment. Refine Board policies and
processes.
Detail noted within the Corporate Structure section of the report.
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D. Create sustainable income streams, and commence funds development for
future Master Plan capital works.
The current Cash Flow projections highlight the highly diverse income streams that
CAGHM relies upon for operational funding. The total cash receipt position is
forecast to be $466,360. The Project Control Group notes that some revenue lines
may be overly optimistic.
The single largest income stream is from Creative Victoria.
Various foundation and investment sources provide a further nine income streams
forecast totalling approximately $171,000.
Publication sales are forecast to achieve $35,500.
Mount Alexander Shire is forecast to provide $20,000.
Other categories are: General, Exhibition sponsorship, exhibition entry fees,
memberships, door takings, bus tours and excursions, fundraising events,
deaccessioning, and refunds of exhibition costs – These total approximately
$114,000.
These 21 income streams provide a considerable challenge for the small team at
CAGHM. Although a larger number of income streams spread the risk of funding
default, they also require considerable time management.
During Phase One the ground work must be put in place to both improve the level of
net revenues, and simplify income streams.
CAGHM’s new strategic direction now strongly mirrors the objectives of Mount
Alexander Shire. This direction promises a real commitment to engage with more
Mount Alexander citizens. And it promises greater positive social, cultural and
economic impacts for the Shire. A positive review of funding levels from the Shire
would greatly improve CAGHM’s ability to deliver on all of these matters.
The Master Plan process and the associated business cases need to produce an
improved use of organisational space, and deliver facilities that provide the right
services for broad new audiences. (See more detail below in Section H).
The business model framework for the Master Plan and associated Business Cases
require both new income streams, and improved existing income streams.
Potentially these may include:
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
Removing the entry charge and replacing this income stream with corporate
sponsor support.

Improved net revenue income stream for the organisation’s retail.

Potential modest income stream from food and beverage.

Improved net revenue income stream from venue hire.

Net revenue income stream from commercial lease.

Learning, tourism and public event income streams.
Achieving greater sustainability and stability in operational funding for CAGHM needs
to be achieved before commencing too early with Master Plan funds development.
Conversations with Regional Development Victoria suggest that grant monies may
be available to fund the Master Plan study. The Master Plan process will estimate the
scale of capital required for construction and fit-out costs, and these will need to
include project focused salaries and wages. A capital funds development plan will
need to be set in place.
E. Undertake development and operation of key policies and systems that
underpin the organisation.
Four Areas
The Consultant review of existing policies and procedures highlights four areas that
require a particular focus in Phase One.
These are foundation areas for museum/gallery practice. They require policy,
systems and training to ensure that the organisation’s performance matches its
strategic objectives.
Collection management, performance management, asset management, and the
Operations Manual are the areas that need most critical attention. The Consultant
team recommends building from existing policies and systems where possible and
notes that draft documentation, policy and procedure development is underway. We
also recommend utilizing appropriate materials from Australian colleagues, Museums
Australia resources, and international peak body resources such as AAM (Alliance of
American Museums).
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Collection management
Collection care policies and procedures need to be further developed and
implemented in phase one. These policies and procedures will also assist the
briefing process for the Master Plan.
It is recommended that upgrading the existing Acquisition Policy is addressed in
Phase Two.
Performance Management
The consultant team applauds new work being undertaken by CAGHM management
for its performance management system. This system directly links to the business
plan and essentially delivers the business plan intent. The consultants support a
simple system that is appropriate for a small team.
Asset Management
Ensuring effective ongoing asset management has been a significant challenge for
many cultural organisations. This requires a well-documented asset management
system - pro-actively scheduling maintenance according to a clear program of
maintenance activities. In particular this involves understanding the condition and
life cycle of assets, prioritising and programming maintenance, exploring options and
negotiating with suppliers about how to extend the life of assets, setting up
processes to identify maintenance issues on an ongoing basis, ensuring suppliers
perform to the standards required of them, and taking ownership of the Asset
Management System. It also requires a process for ensuring that the requisite
capital funds are available to replace and maintain assets. It may be possible for the
Mount Alexander Shire Council to assist CAGHM’s development of an effective asset
management plan
Operations Manual
Policies and procedures that pertain to the daily operations of CAGHM are ideally
maintained within one updateable electronic and hard copy manual. This provides
clear standards and procedures that ensure the focus is kept upon the visitor. The
Manual is also critical training and induction material for all paid and volunteer staff.
The content covered is the same for any size organization. In CAGHM’s case – with
limited staffing, a short and highly visual Operations Manual is preferable.
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F. Define needs and recruit versatile staff expertise – contract and/or
permanent.
The existing situation, with vacant positions, provides undue and unsustainable
pressure upon the Director.
CAGHM’s future operation requires a tight knit professional team with continued and
strong support from community volunteers.
Considerations around staffing need to consider the balance of project and
operational skills required over the next three to six year period. For the next three
years at least, one or two roles may be best created as fixed term contract project
roles – with focus upon the delivery of the staged projects. This would allow the
Director to lead on organisational and external relationships, strategic direction,
fundraising, and public relations.
Staffing considerations also need to include the business model for CAGHM. For
example: a permanent staff team would not allow CAGHM to respond to growth or
decline in demand from visitors and virtual users. The strategic direction for CAGHM
is likely to see a significant growth in physical visitation, online access and in
commercial activities. The staffing structure and contracts need to be prepared for
this situation.
Mount Alexander Shire has discussed the possibility of some shared service support
for corporate and website development functions at CAGHM, potentially with quid pro
quo around venue usage. If this support can be defined for at least the next three
years, this will also positively assist CAGHM’s staffing needs.
The Consultant team advises CAGHM to focus most strongly upon the skills required
and on the activities to be undertaken by staff. CAGHM should not feel in any way
pressured to describe or title positions from stereotyped language or from industry
expectations. We recommend clearly describing the roles and then providing titles
that are literal and readily understood by others. For example, if CAGHM seeks a
contract role specifically for the development of highly engaging and communicative
exhibitions across all collection genres – then ‘Exhibition Developer’ is a lot more
applicable and realistic than ‘Curator.’
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G. Incrementally grow programming where time allows.
Following the approval of this report it is essential that CAGHM’s governing body
understand the importance of the Phase one work, and the intense pressure this puts
upon the Director and staff team.
Over 2015 to 2016 the capacity and capability projects will not leave a great deal of
time and room for intensive investment into CAGHM’s public program. By public
program, we mean the full range of exhibition, public event, publication and
educational activities. This means that modest visitation needs to be acceptable over
this period. CAGHM will also need to clearly communicate this pragmatic reality to
key funders and other stakeholders.
Our experience suggests that the completion of work on facilities and services that
follows the Master Plan, combined with the new brand, is the critical time. It is at this
point that CAGHM will have the best chance to communicate to vast potential
audiences that it has a profoundly new and relevant offer. Intensive public
programming development in Phase Two will be essential in the lead-up to any form
of ‘re-launch’ for CAGHM.
H. Commission spatial and functional Master Plan (of existing spaces – but
cognisant of future physical expansion options), and review of Brand.
Undertake business cases for commercial activities associated with the Master
Plan.
Master Plan
The existing physical configuration of CAGHM’s spaces needs to be carefully
reconsidered within the context of the new Vision, and the new psychographic and
niche target audiences. Some of the key issues that arise out of the new Vision and
target audiences are:
How the street facing façade, courtyard, and entry doors may provide a much more
attractive, welcoming and active experience for users and potential users.
How can CAGHM provide really compelling facilities and services for family visitors
in the Affirmation and Expression psychographic segments?
Do current collections, and does future collection growth, require spatial
reconsideration?
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How can CAGHM provide for a fuller leisure experience that includes social needs –
in daytime? At night? Food and beverage needs? For all four psychographic
segments?
How can CAGHM maximize access to, and sales of, unique art and design from the
region? Unique merchandise from the region?
Can CAGHM provide space for commercial lease income?
How can CAGHM maximise both the exposure to exhibitions, and maximise income
from venue hire and functions?
How can CAGHM maximise the space available for changing exhibitions across
collections and themes?
How will CAGHM provide the environmental conditions necessary?
If future opportunity allows – what would be the best way to physically grow the site?
These are the nature of questions that a Master Plan must answer. In this context, a
Master Plan is how the new vision and mission for CAGHM will be realized. This is in
terms of CAGHM’s functional services, amenities and spaces. The Master Plan also
considers the conceptual framework for CAGHM, and the future range of interpretive
approaches to be utilised.
The Master Plan must also provide prudent advice on the cost of construction and fitout works. This is essential to allow the commencement of effective funds
development.
CAGHM may wish to seek partner support from Regional Development Victoria with
MASC, for assistance in briefing and funding Master Plan costs.
Alongside the Master Plan work, there needs to be careful thinking around the
business model issues to ensure the economic sustainability of the organisation.
This business model approach allows for business cases to be effectively developed
for new services and products.
The combination of Master Plan, business model, and business cases allows
CAGHM to create business plans that are fully informed, and that marry up to the
implementation of Master Plan projects.
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Brand
The complete experience that CAGHM intends to provide will need to be manifested
in a new brand. This is not about securing a new title and logo as an ‘add-on’
process. But rather, the new branding process mirrors the work that CAGHM is doing
in defining its strategic direction, and in defining its future services, and offering a
total visitor experience.
The most logical time to undertake this is following the completion of the 2015-2018
strategic plan and commencement of the Master Plan. The Brand development
process will ultimately produce Strategy, and Brand & Communication guidelines.
We recommend launching the new brand in Phase Two.
I. Undertake timely work on collection information and online access to social
history collections.
The most recent Museum accreditation review of CAGHM was undertaken by
Museums Australian (Victoria) in May 2012. The Consultant Team also met with MA
(VIC) as part of the consultation process for the CAGHM review. The only significant
outstanding areas of concern are: (1) collection and knowledge expertise for the
social history collections, and (2) improving online access to social history collections.
Museum accreditation is highly important for CAGHM. And in addition, the review
has noted the broad enthusiasm for CAGHM to creatively utilise its social history
collections.
It may be possible to attract grant funding for a fixed term project. This would
improve social history collection records, and provide access to these collections
through CAGHM’s online catalogue. At a later point, the creative packaging of this
online material will also promote access to broader non-specialist audiences.
The area of expertise around social history collections, and potentially future popular
culture collections may best be provided through the appointment of content
expertise to the organisation’s sub committees.
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J. Ongoing Operations
The review has highlighted key areas of CAGHM ongoing operations that are as
essential as the project based activities. These key areas continue throughout Phase
Two.
The public relations requirements will put particular pressure upon the Director as
public face of the Gallery. Work on stakeholder and other relationships will also
strongly impact the Director, and these relationships need to be supported and
nurtured by the governing body. Relationship management also needs to be a key
part of staff job descriptions and performance agreements.
3. Key Actions Phase Two
Phase Two: 2017 – onwards
Context: Key requirements to underpin the organisation are met – greater public impact
commences
A. Upgrade the organisation’s integrated public programming, including
commencement of advance planning with Shire Tourism, Bendigo Art Gallery
and Bendigo Regional Tourism. Commence detailed public program business
cases and develop a discrete set of break-even and net profit making public
program experiences (including events).
Phase One sees CAGHM making incremental improvements to public programming
where time allows. In this context public programming is the integrated planning of all
public-facing activities including exhibitions, displays, public events, learning
programs, publications and online digital activities. Phase One’s primary focus is on
capacity, capability, and financial sustainability.
Phase Two builds upon this work. The Director and key staff are more able to invest
time in an integrated public program that has a clear ambition, and that properly
evaluates its impact.
Upgrading the organisation’s integrated public programming relies on expert direction
and facilitation from the Director and incorporation of strong internal and external
expertise.
An integrated public program is the approach to how the organisation offers any form
of activity that impacts the public, and draws upon the resources of CAGHM and its
community. The program requires simultaneous consideration of three spaces: the
online world, the local region, and the actual organisation’s site. This means that
planning must consider activities; to be undertaken at CAGHM’s site, with outreach
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off-site, and on the internet. A programming team for CAGHM would be a small
group of people responsible for programming, monitoring and evaluating all activities
with an integrated public program. The program must be fully cognisant of diverse
learning styles (Appendix One) – these are common to all psychographic segments.
Why have an integrated public program?
The consultants have experience working with cultural organisations that have
struggled to meet their high level vision and objectives. A common theme to this
struggle are a number of organisational behaviours:
High numbers of unique public facing activities, or collection research activities
without a framework of evaluation. ‘Always doing - and too busy to learn’
High numbers of public facing and research activities that fall outside the actual
direction of the organisation. ‘Hobbyist activities’
A dislocation or a missed opportunity between collection and/or research activity and
findings, and the public facing activities. ‘Missed opportunities’
An online presence, style, tone and mood that is geared towards existing users and
ignores potential users. ‘Web presence as information’
An online presence that does not adequately provide online users access to physical
experiences. ‘Web presence with only a marketing focus’
Development of public facing content without adequate early consideration of
audiences and how to engage and communicate with audiences. ‘Build it and they
will come’ or ‘I create experiences for people like me’
Failure for an organisation to make the best added value from content. “I had no
idea that you were developing this!’
Massive losses of corporate memory when staff members leave. ‘It was all in so
and so’s head.’
Failure to recognise the contribution that communities and individuals can make to
the organisation’s work. ‘Experts vs philistines’
This is not an exhaustive list. Nor are these challenges unique to cultural
organisations. However the approach that the organisation uses to create an
Integrated Public Program can strongly mitigate against these problems. CAGHM will
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still need to have an annual business plan and individual performance plans for staff.
But these alone cannot, in our view, deliver a strategic and highly impactful range of
public activity.
So what does it look like?
Set of Tools
The approach to producing an Integrated Public Program firstly requires a set of key
tools.
Two of the most important tools exist:
The overall strategic direction is driven by the Strategic Plan.
Simple and effective Business cases for each significant genre of service and activity
The sound financial basis to support the Integrated Public Program is provided by the
annual Business Plans – in part, created from business cases for each significant
service and activity.
We also suggest these key programming tools:
Knowing your programming context
Advance program with as full knowledge as possible of: seasons, climatic trends, the
existing Central Victoria major public event program, and the annual layout of public
holidays, school holidays and weekends (high days) and school term weekdays (low
days). In addition utilise all data on previous gallery visitation performance, and
Castlemaine Visitor Centre performance with inbound visitation.
Respond to your visitor flow
Of its approximately 400,000 visits per annum, the Shire receives the vast majority
from: Melbourne, the region, and from interstate. In this context, there is no logic to
hosting ‘permanent unchanging exhibits.’ The flow of visitors, plus local audience
requirements, suggest that the organisation must communicate that it undergoes
consistent and significant change to its offer.
By the same token the organisation should not run a program that is so rapid that it
outpaces the ability to visit from the vast majority of potential visitors. At least in the
short term, the consultant team recommends a maximum quarterly program of
change that utilises the majority of the existing exhibition space – to ensure that the
experience provides an adequate reward for the visitor.
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Leverage the greatest benefit from cooperative marketing and programming
Many museums and art galleries struggle with undertaking cooperative activity,
whether in co-marketing their offer, or even coordinating programming across
adjacent destination areas.
How many cultural organisations committed to conventional sports related
programming alongside major world sporting events - to then find a significant lack of
interest and visitation from these audiences to this conventional programming?
At least in the medium term future, if Bendigo Regional Tourism remains healthy,
then CAGHM has the opportunity to work with the Shire Local Economy team,
Bendigo Regional Tourism and Bendigo Art Gallery in two key areas:

Working together on advanced complementary public programming
with a joint focus on growing Melbourne and interstate cultural
tourism.

Participating in appropriate cooperative marketing campaigns –
leveraging the Shire’s membership and involvement in Bendigo
Regional Tourism.
All the categories of activity that impact the public in the digital sphere, across the
region, and in CAGHM, need to be part of an Integrated Public Program.
Food and beverage options, unique events, exhibitions, private functions, education
programs, new crowd sourcing digital collection information campaigns, retail
opportunities, generic tourism bookings……these are just a taste of the activities that
the team will need to program.
The future Programming Team for CAGHM needs to ensure that great minds are
brought together with creative tension, but without interpersonal corrosion.
Science and Art
The consultants have a strong view that the process, tools and team outlined above
are utterly essential.
However, in a sense, these elements are the ‘science’ of the programming equation.
Equally important is something much less definable, in a sense, ‘the art’. This is the
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creativity and imagination that can take a well-meaning but mundane program to
something that draws extraordinary interest and engagement, and creates powerful
memories.
B. Formally share experience gained from Phase One to Buda team and Shire
cultural and local economy team.
The completion of Phase One will provide an exciting and broad range of learning
experiences for CAGHM management, staff and the governing body.
Due to the intense pressure that will follow with Phase Two it may not be possible, or
feasible, to take these findings to regional or national fora in the short term.
However, the Shire’s local economy/tourism and cultural staff, and the team at Buda
will be highly receptive to a formal program of shared learnings from the CAGHM
2015/2016 experience. This is a chance for both qualitative learnings and
quantitative data to be presented. This will also be an opportunity for the Shire and
Buda teams to formally share their own experiences.
C. Roll out new Brand, commence Master Plan facility changes and business
cased recommendations for commercial facilities. Remove entry fees with high
profile public relations.
Three Activities
Three major activities are grouped together here. These are: (1) the roll out of the
new brand, (2) undertaking any capital and fit-out projects that arise from the Master
Plan and associated business cases, and (3) High public profile removal of the entry
fees.
The three activities do need to be aligned in their planning. But the actual timings
must be up for pragmatic discussion.
Brand Roll-out
There is a however, a clear logic to ensuring that a new brand roll-out takes place
when a significant upgrade to the visitor experience has been achieved. Otherwise, a
new brand can be perceived as a, ‘different wrapping for the same present.’
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Free Entry
It may also be beneficial for the commencement of free entry to be aligned with the
new brand and with a major upgrade to the visitor experience.
However, if corporate sponsorship to cover the entry fee income is found earlier, then
it may be appropriate to commence the free entry public relations campaign at this
earlier point.
Master Plan Facility Changes
The most challenging element of all of this, will be construction and fit-out activities
that may be recommended by the Master Plan (also bearing in mind the architectural
heritage considerations). These activities will not be catastrophic in scale – but
possibilities may include:
 Reconfiguration of entry and courtyard
 External paint scheme and introduction of additional external elements
 Reconfiguration of: entry foyer, current reception/shop and potentially the
Whitchell Gallery
 Retrofitting environmental control facilities
 Reconfiguring the lower ground floor as a temporary exhibition and event
space
 Upgrade to some collection storage
 Installation of combined food and beverage, retail, art sales, lounge and
information zone.
 Additional building management works
If the Master Plan does recommend this scale of change, then CAGHM will face the
question of the capital investment required, and the consequential fundraising. In
addition, CAGHM will need to consider how the works are staged over time.
As noted earlier in the report, it is highly possible that the scale of work
recommended will suggest a one-off fundraising campaign. The formulation of a fixed
term period project to conduct the construction works, fit-out works, and training may
be needed. This may well push this activity beyond the 2017/2018 period.
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CAGHM may need to close for a fixed period of time. In this context a detailed
project plan would be formulated that would engage the CAGHM staff team and
appropriate additional expertise.
The project plan would have four key objectives:
Define sub-projects through to opening
Define sub-projects’ deliverables
Define sub-projects’ resource needs
Define sub-projects’ approval needs
D. Major Shire and industry familiarisation program and public launch of
revitalised organisation.
Given CAGHM’s strategic desire to be central to the life of the community, the
vehicle of familiarisations will be essential. This scale of this program for
community and industry needs to involve hosting very large numbers of people
prior to the public launch. To give a comparable example: In England a recent
regional gallery/museum re-launch saw 28 consecutive familiarisation evenings,
targeting community, educational, industry and tourism groups. With over 150
guests nightly, the familiarisation program hosted 4200 people. This has had a
major impact on awareness, visitation and revenue.
E. Commence newly confirmed collection acquisition policy.
CAGHM’s new mission notes the importance of the interpretation of arts, design,
industry and history. Phase two is the appropriate time to reconsider the existing
Acquisition Policy with reference to the new mission. This is likely to include both
tangible and intangible collections.
F. Emphasis on marketing and promotion.
Greater collaboration with NGV, NETS, Museums Australia, Interpretation
Australia, PGAV and international networks.
Productive, mutually beneficial relationships are expressed within the
annual business plans and within individual staff performance agreements.
Community engagement and visitor and market research are expressed
The importance of relationships, community engagement and visitor and market
research will continue to be highly important activities throughout Phase Two and
beyond.
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This phase also sees greater opportunity to invest within professional networks,
locally, nationally and internationally.
Investment in marketing and promotion will need to walk hand-in-hand with the
greater activity and broader program produced by the organisation’s
Programming Team and partners.
4. Collections
Respondents commented on the range of existing collections in different ways.
Some respondents viewed the existing long term ‘Camp to City’ exhibition as being ‘the only
way to be a Museum.’ Some of these respondents advised that the ‘Museum could be
moved elsewhere to allow the Art Gallery to have more versatile space.’
The majority of respondents noted that the existing art collections and social history
collections are a valuable resource to the future organisation. However they also noted that
the interpretation of these collections, physically and virtually, do not have to follow any
particular interpretive model – noting highly diverse ways of exhibiting, and interpreting these
collections. Respondents noted the great potential of utilising social history collections, art
collections, and loaned collections to communicate powerful themes and narratives of the
region and state.
Respondents noted the national significance of key areas of the art collections and noted
their enthusiasm for diverse interpretation for these collections.
Respondents noted that security and standard industry environmental conditions were a
basic requirement for the organisation’s successful operation. Some respondents also noted
that in the context of this discussion the organisation should be careful to avoid shrouding
exhibition spaces in darkness.
Collection care, interpretation, and collection acquisition policy are critical elements of the
proposed staging of works from 2015 to 2018.
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5. Risk Management and Mitigation
There are a number of potential risks associated with the implementing the 2015 – 2018
action plan. Awareness of these risks and mitigation of their impact will be a priority for the
Committee of Management and the Director. The following table summarises a number of
those anticipated, and provides brief commentary on them. This does not constitute a full
risk management plan, which should be prepared during the development of the CAGHM
Strategic Plan.
Nature of Risk
Probability
Potential Result
Comments
Phase One: Complete strategic plan. KPI data sets defined and data collection. Resolve the
corporate structure and associated legal framework
New strategic plan, KPI’s
and data collection
significantly delayed in
development and
implementation.
Low
Flow on delay effect for
all stages within Phases
One and Two of works.
Funding at risk from key
stakeholders.
Lack of momentum sees
significant delays in
implementation of
corporate structure
recommendations.
Low
Flow on delay effect for
all stages within Phases
One and Two of works.
Funding at risk from key
stakeholders.
Income projections
optimistic.
Medium
Failure to achieve
income targets may
threaten viability of the
action plan.
The CAGHM review provides:
the high level direction, target
audiences, and the most
significant activities for the
2015 to 2018 period. Provided
continued support from the
Committee of Management and
key stakeholders, the planning
process and subsequent data
collection process is
achievable.
The commitment of existing key
stakeholders Creative Victoria
and Mt Alexander Shire, and
CAGHM’s Committee of
Management, mitigates against
unnecessary delay in
implementing the
recommended changes.
Phase One: Create sustainable income streams, and commence funds development for future
Master Plan capital works. Development and operation of key policies and systems. Define
needs and recruit versatile staff expertise.
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revenue projections are viewed
as being optimistic. However
the overall effect of the CAGHM
review, and the actions that
follow, put the organisation into
a positive position for seeking
grant and sponsorship funds,
and for partnerships generally.
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Nature of Risk
Probability
Potential Result
Comments
Development of capital
fund for future Master
Plan works, takes longer
than anticipated. Due to
operational pressures
and limited resources
available for the task.
Medium
Implementation of
Master Plan works
pushed beyond the
2017/2018 period.
A delay in achieving capital
funds and consequentially a
delay in works is not ideal. In
this context CAGHM would still
operate within its existing
spaces, but through the reviews
changes, it would operate more
efficiently, and more effectively
for its target audiences and
stakeholders.
The active involvement in
Committee of Management
members in capital fundraising
could mitigate strongly against
funding delays.
Difficulty in attracting
versatile and
museologically
advanced staff, and
project resources.
Low
Too much long term
pressure placed upon
the Director. Reduces
Director’s ability to
deliver on partnerships
and fund raising.
Resistance to Master
Plan process from
community members.
Low/Medium
Reduction in the ability
for CAGHM to
objectively analyse the
existing spaces and
functions, and to
propose consequential
Master Plan works.
This potential risk is strongly
mitigated if the Master Planning
methodology clearly includes
engagement with heritage
groups and with heritage
architect experts. A longer
period of time engaging with
these stakeholders reduces the
risk of disputes entering the
public arena. Prior formal
advice to all key stakeholders of
the Master Plan process also
reduces the risk of public
disputes.
Director departs during
Action Plan period.
Low
Loss of momentum for
implementation of the
Action Plan.
The CAGHM review notes the
existing degree of pressure
and working hours for the
Director as untenable.
Accordingly the review seeks a
number of actions to ensure
that the Directorial role is
exciting but also realistic.
These actions include staffing
measures, support from
governance and recognition of
the role in relation to the wider
industry.
The new CAGHM strategic
direction and the proposed
Master Plan are important
hooks for attracting new staff
with energy and with a modern
museological skill set.
Description of the future work;
in project and fixed term
contract mode, will appeal to
potential staff, particularly
those who are interested in
transformational work.
Phase One: Commission spatial and functional Master Plan and review of Brand.
Undertake business cases for commercial activities. Resilience and retention of Director.
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Nature of Risk
Probability
Potential Result
Comments
Phase Two: Upgrade the organisation’s integrated public programming. Roll out new Brand.
Remove entry fees with high profile public relations.
Quality of visitor
experience fails to match
expectations.
Low
Loss of credibility within
an increasingly
competitive leisure
marketplace.
Improving the appeal,
engagement and attraction of
the visitor experience at
CAGHM is one of the most
significant parts of the Action
Plan. (This is also recognised
as requiring the requisite
financial sustainability and
governance framework).
Unsuccessful branding
and positioning
Low/Medium
The application of the
strategic direction for
CAGHM will have a
profound effect upon
the whole public offer.
However if the future
brand does not match
this change, this will
cause confusion for
potential visitors.
To mitigate this risk, the brand
review process must adhere to
the Strategic Plan direction and
particularly to the target
psychographic target segments.
Delay in fit-out or
construction process
while issues are
resolved.
Unlikely that significant
alteration to the building
envelope will occur, and major
changes of use are not
envisaged.
Reduction in the quality
of the Master Plan
scheme or inability to
complete planned
remodelling and
refurbishment.
Project will only proceed when
costs have been thoroughly
interrogated. Procurement
strategy will be designed to lock
these in.
This allows for a marketing and
communications strategy to be
developed and implemented to
ensure that clear and consistent
messages are issued.
Phase Two: commence Master Plan facility changes and business cased recommendations for
commercial facilities.
Delay or failure to secure
building consent and
planning approval for
Master Plan works.
Project budget
underestimated.
Low
Low
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Appendices
Appendix One: Learning Styles
In 1984 David Kolb published his four modes of learning that have come to be recognised
and used widely in cultural institutions globally. According to Kolb, learners perceive and
process information in a continuum from concrete experience, reflective observation,
abstract conceptualization, and active experimentation:
Concrete experience: being involved in a new experience
Reflective observation: watching others or developing observations about one’s own
experience
Abstract conceptualization: creating theories to explain observations
Active experimentation: using theories to solve problems, make decisions
The Concrete/Reflective/Abstract/Active
From this continuum, Kolb developed four learning styles: Diverger, Assimilator, Converger,
and Accommodator. Learners generally prefer one of the four styles above the others.
Although Kolb thought of these learning styles as a continuum that one moves through over
time, usually people come to prefer, and rely on, one style above the others. And it is these
main styles that instructors need to be aware of when creating instructional materials.
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Diverging (feeling and watching - CE/RO)
These people are able to look at things from different perspectives. They are sensitive. They
prefer to watch rather than do, tending to gather information and use imagination to solve
problems. They are best at viewing concrete situations several different viewpoints.
Kolb called this style 'diverging' because these people perform better in situations that
require ideas-generation, for example, brainstorming. People with a diverging learning style
have broad cultural interests and like to gather information. They are interested in people,
tend to be imaginative and emotional, and tend to be strong in the arts. People with the
diverging style prefer to work in groups, to listen with an open mind and to receive personal
feedback.
Assimilating (watching and thinking - AC/RO)
The Assimilating learning preference is for a concise, logical approach. Ideas and concepts
are more important than people. These people require good clear explanation rather than
practical opportunity. They excel at understanding wide-ranging information and organizing it
a clear logical format.
People with an assimilating learning style are less focused on people and more interested in
ideas and abstract concepts. People with this style are more attracted to logically sound
theories than approaches based on practical value.
These learning style people is important for effectiveness in information and science
careers. In formal learning situations, people with this style prefer readings, lectures,
exploring analytical models, and having time to think things through.
Converging (doing and thinking - AC/AE)
People with a converging learning style can solve problems and will use their learning to find
solutions to practical issues. They prefer technical tasks, and are less concerned with people
and interpersonal aspects. People with a converging learning style are best at finding
practical uses for ideas and theories. They can solve problems and make decisions by
finding solutions to questions and problems.
People with a converging learning style are more attracted to technical tasks and problems
than social or interpersonal issues. A converging learning style enables specialist and
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technology abilities. People with a converging style like to experiment with new ideas, to
simulate, and to work with practical applications.
Accommodating (doing and feeling - CE/AE)
The Accommodating learning style is 'hands-on', and relies on intuition rather than logic.
These people use other people's analysis, and prefer to take a practical, experiential
approach. They are attracted to new challenges and experiences, and to carrying out plans.
They commonly act on 'gut' instinct rather than logical analysis. People with an
accommodating learning style will tend to rely on others for information than carry out their
own analysis. This learning style is prevalent within the general population.
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Appendix Two: Bibliography
Alison Lykissas Registrars Conference Report (2014)
Arts Victoria Community Museums Pilot Project (2009)
Arts Victoria Statistical Returns 2011/2012, 2013/13
Australian Bureau of Statistics 2013/14 – Census data
Benalla Art Gallery Annual Report 2013/14
Benalla Art Gallery Trust Fund Financial Report (2014)
Benalla Rural City Draft Council Plan 2013 - 2017
Buda Historic Home and Garden Forward Plan 2012 – 2017 (revised August 2012)
Buda Historic Home and Garden Strategic Interpretation Plan (2009)
Castlemaine Art Gallery and Museum – Revenue and funds development correspondence,
acquittal reports and briefing papers (2013-2015)
Castlemaine Art Gallery and Historical Museum Annual Reports
Castlemaine Art Gallery and Historical Museum – Existing policies, Rules, Deeds, floor
plans, and associated templates
Castlemaine Art Gallery and Historical Museum Strategic Plan (current)
Colmar Brunton 1995 Psychographic Segmentation Museum of New Zealand Project
IFACCA – Culture as a goal in the post-2015 agenda (2013)
Morris Hargreaves McIntyre 2013 - Culture Segments Australia/Audience Atlas Australia
Report
Mt Alexander Shire Council Arts Strategy 2011-2015
Mt Alexander Shire Council Economic Development Strategy and Brochure (2013)
Museums Australia (VIC) CAGHM Accreditation Report (2012)
New England Regional Art Museum Annual Report (2014)
New England Regional Art Museum Constitution (2008)
New England Regional Art Museum Foundation Advisory Committee Guidelines
New England Regional Art Museum Strategic Plan (2014)
Porirua City Council Annual Plan 2014 – 2015 (NZ)
Porirua City Council Annual Report 2013-2014 (NZ)
South Grampians Shire Council Arts and Culture Strategic Plan (2014)
Te Horowhenua Trust Annual Reports 2012/13 2013/14 (NZ)
Te Takere Design Brief (2010) (NZ)
Te Takere Strategic Plan (2012) (NZ)
Tourism Research Australia Bendigo Visitor Profile and Satisfaction Survey (2011)
Castlemaine Art Gallery and Historical Museum Review
Neil Anderson Consulting Positive Solutions
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Tourism Research Australia Goldfields Visitor Profile and Satisfaction Survey (2011)
UMR 2009 – Psychographic Segmentation Auckland Museum (NZ)
UMR 2011 – Psychographic Segmentation Te Papa (NZ)
UNESCO – Culture – A driver and an enabler of sustainable development (2012)
Warrnambool Art Gallery Foundation Annual Report (2011)
Warrnambool City Council Annual Report 2014-2014
Warrnambool City Council Plan 2013-2017
Wellington (VIC) Shire Council Annual Report 2013-2014
Castlemaine Art Gallery and Historical Museum Review
Neil Anderson Consulting Positive Solutions
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