RGAC A Portrait of The Artist Experience

Image Courtesy of RGAC and Eugene Bennett, A Life in Art
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Rogue Gallery & Art Center:
A Portrait of the Artist Experience

Prepared For
Frann Wolfe, President of the Board of Directors

Presented by
Ammi Kamhoot-Hartley
Sulaiha McDougall Gueye

In fulfillment of the requirements for
MBA 519: Graduate Research
In the Masters of Business Administration program for the
School of Business
Southern Oregon University

Under the Supervision of
Donna Lane, Ph.D
Associate Professor, School of Business

Mark Siders, Ph.D
Associate Professor, School of Business

Ashland, Oregon June 12, 2012

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Executive Summary

Rogue Gallery & Art Center (RGAC), located in Medford, Oregon, has been a staple of
the local landscape since 1960. Established as a place where local artists could come together to
show and teach art, RGAC offers a wealth of classes for children, teens and adults, in addition to
ongoing exhibits and a variety of other services. Moving forward, the organization has outlined
three Strategic Pillars to guide their development: 1) Achieve organizational stability by building
the success of exhibition and education programs; 2) Broaden cultural influence by expanding
visibility, audience and education programs; and 3) Enrich community relationships through
strengthening and expanding community collaborations and partnerships.

This research was undertaken in collaboration between RGAC and Masters of Business
Administration students at the Southern Oregon University School of Business. The purpose of
the research was to gather feedback from those artists with a pre-existing relationship to the
facility to better understand the RGAC artist experience establishing a snapshot of where the
organizations Strategic Pillars currently stand, and how they can best be achieved in the future.

Data consisted of an email survey sent to constituents, and a review of current literature
on the topic of art organizations, their services and success. Analysis of the data resulted in
insights on customer interests, awareness, satisfaction, and participation at RGAC. Presentation
of the data, and analysis of the data, are followed by recommendations for how findings can
inform RGACs progress towards achieving the Strategic Pillars.

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Acknowledgement

We acknowledge and extend our gratitude to the Southern Oregon University School of
Business, especially Donna Lane, Ph.D., and Mark Siders, Ph.D., Associate Professors at the
Southern Oregon University School of Business for their guidance and support throughout the
duration of our research. We also graciously thank Frann Wolfe, President of the Board of
Directors at Rogue Gallery & Art Center, for her guidance and direction. We also extend our
gratitude to Rogue Gallery & Art Center, for entrusting us with their constituency, and allowing
our contribution to their organization.

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Contents
Executive Summary ............................................................................................................................ ii
Contents ........................................................................................................................................... iv
Table of Figures................................................................................................................................. vi
List of Tables .................................................................................................................................... vii
Chapter 1: Introduction ......................................................................................................................1
Background and Need for the Study ....................................................................................................... 1
Problem Statement ................................................................................................................................. 2
Objectives of the Study ........................................................................................................................... 2
Chapter 2: Review of Related Literature .............................................................................................3
Attendance ............................................................................................................................................. 3
The Curator/Director Role ...................................................................................................................... 4
Partnerships ............................................................................................................................................ 4
Economic Niche and Financial Impact ..................................................................................................... 5
Community Outreach.............................................................................................................................. 7
Outreach through Advertising ................................................................................................................ 8
Creating an Attractive Community Atmosphere ..................................................................................... 9
Chapter 3: Research Design and Methodology .................................................................................. 10
Definition of Population Surveyed ........................................................................................................ 10
Research Design .................................................................................................................................... 11
Primary and Secondary Sources ........................................................................................................ 11
Survey Design .................................................................................................................................... 11
Construction of the E-Mail Survey .................................................................................................... 13
Key Individuals Furnishing Feedback for Survey Prototype............................................................... 14
Determination of Sample Size and Description of Sampling Method Used ...................................... 15
Validity and Reliability....................................................................................................................... 15
Limitations of Study .............................................................................................................................. 16
Chapter 4: Findings .......................................................................................................................... 18
Overview of Survey Findings ................................................................................................................. 18
Membership Standing ....................................................................................................................... 18

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Reasons for Attending RGAC ............................................................................................................. 18
Awareness and Interest in Services ................................................................................................... 21
Frequency of Participation in Services .............................................................................................. 25
Client Expectations ........................................................................................................................... 27
Effect of Atmosphere ........................................................................................................................ 29
Satisfaction with RGAC Services ........................................................................................................ 30
Community Expansion ...................................................................................................................... 32
Communication ................................................................................................................................. 33
Themes within Open-Ended Questions ............................................................................................. 33
Analysis of Findings ............................................................................................................................... 35
Statistical Analyses: Membership Standing and RGAC Interactions .................................................. 35
Cross-tabulations: Reasons for Attending and Frequency of Attendance ......................................... 38
Statistical Analyses: Interest, Awareness, Participation and Satisfaction.......................................... 41
Chapter 5: Conclusion and Recommendations .................................................................................. 45
Summation of Findings ......................................................................................................................... 45
Achieving Organizational Stability ..................................................................................................... 45
Broadening Cultural Influence and Enriching Community Relationships .......................................... 47
Recommendations ................................................................................................................................ 47
Improvements to Current Services ................................................................................................... 47
Marketing ......................................................................................................................................... 50
Community Expansion ...................................................................................................................... 53
Suggestions for Future Studies: ............................................................................................................ 54
Appendix A: Research Proposal ........................................................................................................ 56
Appendix B: IRB Form ...................................................................................................................... 58
Appendix C: IRB Exemption .............................................................................................................. 66
Appendix D: Email Survey (Initial) ..................................................................................................... 67
Appendix E: Email Survey (Reminder) ............................................................................................... 68
Appendix F: Survey Screenshot ......................................................................................................... 69
Appendix G: Survey Responses ......................................................................................................... 73
Appendix H: Open-Ended Questions ................................................................................................. 79
References ....................................................................................................................................... 85

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Table of Figures

Figure 1: Frequency of Participation in Core Services ................................................................. 27
Figure 3: Membership Standing: Awareness of Membership Benefits ........................................ 36
Figure 4: Membership Standing: Frequency of Visiting Exhibitions ........................................... 37
Figure 5: Membership Standing: Awareness of Workshops ........................................................ 37
Figure 6: Membership Standing: Participation in Workshops ...................................................... 38
Figure 7: Correlations: Exhibiting Artwork .................................................................................. 42
Figure 8: Correlations: Workshops ............................................................................................... 42
Figure 9: Correlations: Visiting an Exhibition.............................................................................. 43
Figure 10: Correlations: Lectures ................................................................................................. 43
Figure 11: Correlations: Boutique ................................................................................................ 44
Figure 12 Correlations: Professional Development Trainings...................................................... 44

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List of Tables
Table 1. Reasons for Attending: Levels of Importance ................................................................ 18
Table 2. Question 2 (Reasons for Attending): Frequencies and Percentages by Item .................. 19
Table 3. Awareness of Services: Levels of Awareness ................................................................ 21
Table 4. Question 3 (Awareness of Services): Frequencies and Percentages by Item ................. 22
Table 5. Interest in Services: Levels of Interest ............................................................................ 23
Table 6. Question 3 (Interest in Services): Frequencies and Percentages by Item ....................... 24
Table 7. Meeting Client Expectations: Levels Expectations ........................................................ 27
Table 8: Question 5 (Meeting Client Expectations): Frequencies and Percentages by Item ........ 28
Table 9: RGAC Atmosphere: Applicable Feelings ...................................................................... 29
Table 10: Satisfaction with Services: Levels of Satisfaction ........................................................ 30
Table 11: Question 7 (Satisfaction with Services): Frequencies and Percentages by Item .......... 31
Table 12: Community Expansion: Proposed Ideas ....................................................................... 32
Table 13: Importance of Opportunity to Exhibit: Frequency of Exhibiting ................................. 38
Table 14: Frequency of Visiting Exhibitions: Importance of Visiting Exhibitions ...................... 39
Table 15: Workshops, Lectures, and Professional Development Training Frequency................. 39
Table 16: Lectures Frequency ....................................................................................................... 40
Table 17: Boutique Frequency ...................................................................................................... 41
Chapter 1: Introduction
Background and Need for the Study
Since 1960, the Rogue Gallery & Art Center (RGAC) has worked to establish itself as strong
cultural resource for the local community. As the first non-profit visual arts center in the Rogue
Valley, founders Eugene Bennett and collaborating artists, educators and local leaders aspired to
bring contemporary art to the region by creating a place where local artists could come together to
show and teach art. RGACs mission is to enliven the individual and enrich the community through
inspirational visual art experiences.
Now located in the heart of downtown Medford, Oregon, the RGAC facility is host to a
wealth of classes for children, teens and adults, in addition to ongoing exhibits and a variety of
other services. The facility consists of three main areas of function: gallery space, studio space, and
a Boutique where fine crafts by local artists and artisans are merchandised for sale. The gallery
space is divided into two areas, a larger area for featured exhibits rotated throughout the year, and a
smaller space to display the works of RGAC contributing members. The studio workspace is open
for classes and workshops for various ages and interests, taught year-round by both local and
nationally recognized talent.
While RGAC is open to all, and admission to exhibits is free, financially contributing
members play an important part in supporting RGAC in their mission. Members receive additional
benefits for their backing, including: monthly ArtBlasts via email, preregistration privileges and
discounts for classes, access to the art leasing program, opportunities to show in the Members
Gallery and inclusion in the annual Members Exhibition.

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Problem Statement
While RGAC has long been a staple of the local landscape, they continue to strive to
improve impact and visibility in the community. For guidance, the organization has outlined the
following three Strategic Pillars:
1. Achieve organizational stability by building the success of exhibition and education programs;
2. Broaden cultural influence by expanding visibility, audience and education programs; and
3. Enrich community relationships through strengthening and expanding community collaborations
and partnerships.
While these pillars provide good general guidelines, they lack the detail RGAC needs to
inform their efforts in achieving the stated goals. RGAC seeks to better understand what has
been accomplished and what remains to be accomplished with regards to the three Strategic
Pillars; this research aims to provide that understanding.
In addressing the first pillar, participants were surveyed to gather information on interest,
awareness, satisfaction and frequency of participation for all core RGAC services. In addressing
the second and third pillars, participants were surveyed to gauge their interest in community
expansion projects currently under consideration at RGAC, and to gather further suggestions for
possible future community outreach projects.
Objectives of the Study
The purpose of this study is to develop a snapshot of RGACs progress within the
Strategic Pillars, and to determine what improvements, if any, could benefit RGAC in achieving
the stated goals. Research will be both primary and secondary, consisting of a strategically
designed survey and an expansive literature review. This research uncovers important
recommendations to influence RGAC activities both within and beyond facility walls.

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Chapter 2: Review of Related Literature
Attendance
Visitors of cultural and art centers are diverse, they include families, tourists, educational
groups, individuals, and various other social groups. While experiences with art and culture are
the main drivers of attendance, there are also those who come seeking opportunities for
entertainment and leisure, education, artistic inspiration, or even a chance to make a statement
about social status (Doering, 1995; Kotler, 1999).
Dependent on the types of services offered, visitors of arts centers may experience thrill,
excitement or relaxation, or find delight in aesthetic pleasures or intellectual discoveries.
Attendance depends on how well organizations provide these experiences, with more successful
organizations working to foster multiple experiences in a single visit. Services common to art
organizations include events, collections, exhibits, designed environments, programs/classes,
membership activities, shops, restaurants and interactive websites (Kotler, 1999). In order to
maintain or increase attendance, art organizations must understand audiences reasons for
visiting, and cater to those reasons through the services they provide (Doering, 1995; Kotler,
2010); as Kotler (2010) writes, [S]ervices can be the foundation for satisfying experiences.
Some of the largest challenges art organizations face are obtaining visibility, audiences
and resources, as well as dealing with obstacles of scale and location. Research can aid art
organizations overcome these challenges by providing a conceptual framework for understanding
visitor behavior as well as providing managers with measurement standards to assess
performance (Kotler,1999).

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The Curator/Director Role
Some art centers have a curator or director to coordinate organizational goals and
activities. This person may also be the owner. Curators/directors are expected to have a strong
artistic foundation to align the art gallerys services with its mission and financial goals.
Additional duties include keeping current on industry trends and what other galleries are doing,
as well as possessing a creative and refreshing perspective to develop exhibit events and other
service themes (Hart, 2010).
Partnerships
As art organizations reach-out in their communities, new collaborations are found with
businesses, schools, and various other local organizations.
Many art organizations are reaching-out to local businesses with the introduction of art
leasing programs (Craig, 2004). They are targeting restaurant owners, property developers,
event coordinators, interior designers, board rooms, hotels, healthcare markets, law firms,
insurance companies, banks and financial institutions. Some art leasing programs give the
leasing client the option to sell the piece they are displaying to receive a commission, while
others give the client the option to the have the art changed-out on a rotating basis keeping
public spaces artistically fresh. While the lessee enjoys surrounding themselves with fine art
without paying the price up front, the artist benefits from having their piece displayed in the
corporate or business setting, which can give the piece greater prestige and elegance than is
found in a gallery (Craig, 2004).
Art organizations are also increasingly partnering with community schools. Champions
of Change (1999) a report published by the President's Committee on the Arts and the

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Humanities, and the Arts Education Partnership features seven major studies exploring the
positive impact of arts on the academic behavior, thinking and lives of children. The studies
reveal that arts education outside of school enhances childrens sense of wellbeing and
accomplishment, and advocates that interaction with the arts must be a basic part of the
educational experience (Fiske, 1999). Additional studies reveal the relationship between
involvement in the arts and better academic scores, including for those from low socio-economic
status, as well as positive learning and language development in at-risk youth a pattern not
found for participants in community service or sports-academic initiatives (Brice Heath &
Roach, 1999; Caterall & Iwanago, 1999).
Its not just young learners who benefit from involvement with the arts, however, older
adult learners benefit as well. A study by Stapleton (2009) showed that the act of artistic
expression helps alleviate the stress of daily life for older adults, positively influences the
functioning of the older adult memory, and provides important opportunities for positive social
interaction and emotional expression. Community arts programs provide a positive resource for
mind-stimulating activities that can help adults continue positive development, productivity and
fulfillment in later years of life (Stapleton, 2009).
Economic Niche and Financial Impact
Art and culture centers are often classified as part of the leisure and recreation industry.
Such industries are financially sensitive to the overall health of the economy, and have thus been
greatly impacted by the recent economic downturn (Slavin, 2010; Peterson, 2010; Winkleman,
2010; Risks Work, 2010). Funding for most art and culture centers comes both from visitors
engaging in various services and buying products, as well as external sources such as grants,
government funding, donations and membership fees and subsidiesall of which tend to decline

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in times of economic recession (Americans for the Arts, 2005; Kotler, 1999; Risk Work, 2010;
Slavin, 2010; Peterson, 2010; Winkleman, 2010; Risk Works, 2010).
Sales revenue and visitation levels tend to suffer as the public find themselves with less
in their pockets and purchasing artwork falls on the list of priorities. While the vast majority of
fine art is sold to individuals in the top three percent of income earners, these individuals too
become relatively conservative in their spending during difficult economic times. Galleries
selling higher-priced artwork suffer the most, as they fluctuate more closely with the economy
than those galleries selling modestly priced works. Those galleries offering free admissions are
likely to see a reversed trend, with visitation increasing rather than decreasing during difficult
economic times, as people seek affordable entertainment to lighten the mood and reduce the
stress (Peterson, 2010; Winkleman, 2010; Risks Work, 2010).
In the latter parts of 2009, gallery sales began to increase, as the economy showed signs
of improvement and those wanting to buy but resisting due to finical constraints were once again
able to indulge (Slavin, 2010). But even as economic conditions improve, advisors council
gallery owners to refrain from feeling a total sense of security in an industry so highly affected
by economic and seasonal fluctuations. Advisors also recommend that any additional profits
gained from recent increased sales and visitations be reinvested to make up for the recession.
They recommend the reinvestment take two forms: debt reduction to pay off or reduce any
incurred debt, and inventory replenishment to improve the quantity and quality of the artwork
offered. Simple touchups, but not a full remodel, can also be helpful in giving the gallery a fresh
look and inviting visitors who are ready to spend again. Galleries should take advantage of the
good times but always be prepared for another natural industry lull (Salvin, 2010).

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Community Outreach
Past research has proven the wide range of benefits that the arts offer, including the
ability to develop economies and revitalize communities (Mallonee, 2010; Hodgson, 2011;
Quinn, 2003; Fiske, 1999; Americans for the Arts, 2005).
The arts have been used in many ways to accomplish economic development and
community revitalization goals. Some have taken to creating high-profile, centrally located
facilities and events to attract tourists, while others focus on creating cultural districts for a
wealthy creative class (Mallonee, 2010). Critics argue, however, that such strategies cater too
much to tourists and the citys affluent members while ignoring local needs and talents
(Mallonee, 2010). The greatest way the arts can impact their communities is not through large-
scale infrastructure developments, but through helping communities to understand context,
celebrate character, and create or reinforce a sense of place (Hodgson, 2011; Mallonee, 2010).
The most meaningful way arts organizations can help develop a sense of place, is by
taking a community cultural inventory (Hodgson, 2011). A community cultural inventory may
include such things as: demographic composition, architectural history, languages spoken, food
culture, unique customs, current landscapes, temporary markets and fairs, natural resources,
native plants, business and community signage, educational institutions, and anything else that
defines the community (Hodgson, 2011). The community cultural inventory is the foundation
for developing a sense of place and is necessary in a communitys ability and drive to envision
their own future (Hodgson, 2011; Mallonee, 2010). As Burrup (2006) writes, [W]hen people
have a true sense of ownership or connection to the spaces they inhabit, the residents feelings
of respect and responsibility bond them to the place and to each other (Mallonee, 2010, p. 14).

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Art organizations must also be the curators of community identity because they have a
unique ability to embrace the changing cultural climate and character of a community as the
narrative of place they create continually evolves and is able to balance past, present, and future
(Hodgson, 2011). The sense of place developed through arts organizations can then guide local
decision making, planning processes, policies, and regulations encouraging development that is
place based and reinforces the cultural goals and vision of the community (Hodgson, 2011).
As an additional benefit, arts organizations provide opportunities for participation in
community life through festivals, events and performances, classes and workshops, and other
activities (Hodgson, 2011). In this way, local arts organizations can be thought of as incubators
of civic culture and social capital, places where people learn to be neighbors through public
engagement and recognition (Mallonee, 2010, p. 18). So while we once thought of galleries as
elitist cathedrals of culture, today cities look to their arts organizations as town squares
places where people can gather and converse, sharing in the communitys culture with neighbors
(Dobrzynski, 2012; Mallonee, 2010).
Outreach through Advertising
As with most businesses, galleries need a strong marketing plan to communicate with the
public and ultimately build a broader audience (Winkleman, 2010; Kotler, 1999). In order to
best market to the public, galleries must understand the full range of benefits that can be derived
from their services, as well as the strengths and weaknesses of their services in delivering those
benefits (Kotler, 1999). The marketing plan should also be careful in its definition of audience,
as all too often galleries limit themselves with a narrow definition focusing primarily on those
already interested in art. Such a narrow definition is detrimental, as traffic has been shown to
increase when galleries broaden the scope of their audience outreach (Winkleman, 2010; Hart,

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2010). The Baltimore (Md.) Museum of Art, Director Doreen Bolger states that "[S]ometimes,
we in the art world are too often doing things for those who already appreciate art and its
transformative power and not reaching out to new friends and allies" (Hart, 2010). A gallery
should be welcoming to all visitors. Educating audiences will help visitors develop an
appreciation for the arts, and will also demonstrate the gallerys expertise in their service
(Winkleman, 2010).
A gallerys marketing plan must also consider recent technological trends, and evidence
of how websites and social networking sites can help a business increase public awareness
through an active online presence. Social networking can be of particular value during tourist
seasons when people are looking for something new to do and updating on their experiences. The
internet is an inexpensive way for a gallery to connect with all types of audiences and showcase
what they have to offer (Winkleman, 2010).
Creating an Attractive Community Atmosphere
Recommendations for fostering public engagement stress the importance of always
keeping the gallery a lively and happening place. As the average visitor attends a gallery to
partake in current events and exhibitions, themes for these events and exhibitions must be
interesting and new, with very brief transition times in between. Galleries should [t]hink outside
the box, and optimize the interest factorto draw a crowd, also keeping in mind that people are
more attracted to exhibits they can connect with especially important when considering the
communitys different cultural groups (Dobrzynski, 2012; Winkleman, 2010). While galleries
should have a purpose and point of view defined within their mission statement, and ensure that
any services or offerings align with this mission, they should also be sure not be too limited in
their focus (Winkleman, 2010; Hart, 2010).

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Additional suggestions for community visibility and outreach include: partnering-up as
much as possible with businesses, schools, local attractions and non-profit organizations;
getting involved with those art organizations in the community which are most lively and
energizing; and hosting community events, even if they are not directly related to art. All of
these strategies will help keep the face of the organization seen and active (Winkleman, 2010;
Hart, 2010).
Peterson (2010) recommends gallerys concentrate on art walks as a key component to
their community expansion strategies. Art walks provide low-cost entertainment, making the
gallery and surrounding area enticing, and fostering a sense of local community. Scottsdale,
Arizona has become known internationally for its art-walks over the past last 30 years. The art
walks are heavily promoted and feature, live music, food and, of course, art. Each art-walk is a
unique experience that not only draws attention to the galleries, but to nearby restaurants and
businesses as well (Peterson, 2010).

Chapter 3: Research Design and Methodology
Definition of Population Surveyed
In this project, we were given the email addresses of constituents who had registered with
RGAC and defined themselves as artist. An e-mail survey was distributed to all listed
addresses. This list provided excellent access to our population of interest: artists who had a pre-
existing relationship with RGAC and would be able to provide feedback on the quality of their
interactions with the organization. The fact that these constituents had interacted with RGAC at

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various times, with varying frequencies and in varying respects, would provide robust insight
into the RGAC artist experience.
Research Design
It was determined by consensus that this survey would focus specifically on artists having
a pre-existing relationship to the facility, rather than attempting to reach new artists, or the larger
community as a whole. Consequently, this survey concentrates primarily on the services RGAC
currently provides, and the artists they currently serve.
Primary and Secondary Sources
The primary source for this research was an email survey sent to all those with a pre-
existing relationship to RGAC who defined themselves as artist. Secondary research included
a collection of current literature on the topics of art galleries and their roles and purposes.
Survey Design
Question 1 aimed to decipher the nature of respondents relationship to RGAC as a
current member, past member, or not yet a member. This question would allow us to segment
responses and give RGAC more focused information about how they are serving each of the
respective groups. This question would allow us to later explore correlations between
membership standing and other elements of the research (i.e. interests, awareness, frequency of
participation, and satisfaction for core RGAC services, as well overall satisfaction with the
organization).
The second question gave several possible reasons constituents might choose to attend
RGAC, and asked respondents to rate the importance of each item. This question would provide
RGAC with an understanding of constituent demands and expected experiences, and assure that
the organizations resources are being allocated in accordance.

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Question 3 looked to discover constituents levels of awareness and interest for core
RGAC services. Information discovered here would provide the foundation for analyses of co-
relationships between interest, awareness, and information we would seek in later questions
regarding frequency of participation and satisfaction. Once again, this question would also
provide RGAC important information regarding the allocation of resources within the
organization.
Question 4 deciphered constituents frequency of participation in core RGAC services for
the reasons listed above.
The fifth question aimed to discover constituents level of satisfaction with various
elements of RGAC offerings. This question was designed to gain insight into reasoning behind
previously asked questions such as attendance and interest. These ratings would also give
RGAC meaningful feedback to elements of their offerings which may need adjusting to gain
greater artist satisfaction and attendance. Open space was also provided within this question for
respondents to offer further explanation or feedback.
The sixth question is related to the fifth, but focuses narrowly on the RGAC experience
asking artists to identify all the ways they feel when at RGAC (i.e. inspired, ignored, welcomed,
limited etc.). This question would provide meaningful insight into the emotional experience
found at RGAC extremely important to any organization that depends on voluntary attendance.
Continuing to seek understanding of the RGAC artist experience, Question 7 asked
respondents to rate their level of satisfaction with all core RGAC services. An open space was
also provided here, and asked respondents to express any improvements to the services that they
wished to see.

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Question 8 worked to negotiate between the clients (RGAC) want to understand how
best reach the larger community, and the limitation of having to focus attention on a specific
target group (i.e. those with a pre-existing relationship to RGAC). In Question 8, constituents
were asked about their interest in various community outreach projects currently under
consideration at RGAC. An open space was also provided, and asked respondents to share
additional ideas about how RGAC could best serve and engage with the larger community. This
question would provide RGAC with information on the importance of community expansion to
constituents, as well as with additional ideas, before moving forward in their community
expansion endeavors.
The last question, Question 9, aimed to provide a point of reflection on RGACs
marketing efforts. Respondents were asked if they felt current on RGAC offerings, would like
more or less information, and their preferred method of receiving that information. (See
Appendix F for a full copy of the survey.)
Construction of the E-Mail Survey
The email survey was developed and formatted in conjunction with Survey Monkey
(www.surveymonkey.com), a fee-based service offering a range of flexible survey design
alternatives and handling of survey processes through links on their website. A sample survey is
included in Appendix F. The survey was developed to meet certain criteria, the survey was to:
Contain quantifiable data where possible and generate useful information;
Be constructed with an eye towards future research (compatible data formulas, etc.) in
order to accumulate & compare results over time;
Be generally appealing in appearance, to encourage response;
Be brief, to encourage response; and
Include an option for respondents to register in a drawing to win a free workshop at
RGAC as incentive for their participation.

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The email message (see Appendix D) was composed as a friendly and gracious call for
feedback, encouraging potential respondents to follow a link to the survey and provide their
input. The inclusion of incentive (enter to win a free workshop of your choice at RGAC) was
hoped to encourage respondents and tangibly reward one of them for their contribution. The
option to enter the drawing was explicitly alluded to in the email message itself prior to linking
to the survey. The message also stressed the brevity of the survey (should take 5 to 10
minutes) as further encouragement. A friendly reminder (see Appendix E), again with the link
to the survey, was sent 5 days after the initial sending and two days before the survey closed.
The reminder was able to garner an additional grouping of responses contributing to a total of
130 responses.
Key Individuals Furnishing Feedback for Survey Prototype
Donna Lane, Ph.D., Associate Professor and School of Business Chair, Southern Oregon
University
Mark Siders, Ph.D., Associate Professor and MBA Coordinator, Southern Oregon
University School of Business
Frann Wolfe, President of the Board of Directors, Rogue Gallery & Art Center
In the development stages, this survey was reviewed by Donna Lane, Ph.D., Associate
Professor and School of Business Chair at Southern Oregon University, and Mark Siders, Ph.D.,
Associate Professor and MBA Coordinator at Southern Oregon University School of Business.
Their helpful feedback led to a number of changes, including changes to wording, scaling, and
the elimination of certain elements deemed unnecessary.
The survey was also reviewed by the client, Frann Wolfe, President of the Board of Directors
at Rogue Gallery & Art Center. Ms. Wolfes feedback was invaluable in both the early stages of

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development and again before release of the survey. It was after Ms. Wolfes first viewing of the
survey that questions concerning community expansion, elements of the Boutique, and elements
of artistic inspiration were added all of which would become the basis for important findings.
Determination of Sample Size and Description of Sampling Method Used
The original list of potential respondents included 653 email addresses. In sending the
survey, 28 deliveries failed due to email verification; the resulting potential number of
participants was reduced to 625. We aimed to achieve a 15% response rate, or receive at least 94
responses. We determined a 95% confidence interval with a 7% margin of error would be
acceptable. In actuality, we achieved a 20.8% response rate (130 responses), with a resulting
confidence interval of 96% and a 6.5% margin of error.
Validity and Reliability
A survey to measure similar demographic and interest based data for RGAC was
conducted in earlier 2011 by undergraduate students from the Southern Oregon University
School of Business. Both this and previous research depended on the expertise and the oversight
of Donna Lane, Ph.D., Associate Professor and School of Business Chair at Southern Oregon
University, and Frann Wolfe, President of the Board of Directors at Rogue Gallery & Art Center.
Survey results were collected in two phases. Phase 1 included respondents who
completed the survey between the dates of May 8, 2012 and May 13, 2012, after the first email
survey was sent (see Appendix D). Phase 2 included those who responded between the dates of
May 13, 2012 and May 18, 2012 after the reminder email survey was sent (see Appendix E).
Comparison of these two groupings found no statistically significant differences.

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Limitations of Study
The client (RGAC) expressed great interest in gathering information to guide the
organizations community expansion efforts and overall community presence. Given restrictions
of time and human capital, however, it was necessary to focus attention on a very specific target
population. Narrowing in on a specific population meant choosing between the current RGAC
constituency for which contact information was known, or any other number of previously
unexplored populations out in the larger community (i.e. art teachers at local schools, SOU/HEC
art students, local organization leaders, a random street sampling, etc.). Consideration was also
given to the fact that relatively little was known about those already involved with RGAC, aside
from the survey completed earlier in 2011 that provided mostly demographic information. With
these considerations, a consensus was drawn to focus attention on those artists with a pre-
existing relation to RGAC.
Because this survey focused on those constituents with a pre-existing relationship to the
facility, results are not generalizable to the wider community. Attempts to address RGACs
interest in overall community outreach was addressed through secondary research an expansive
literature review from which many recommendations are derived. We hope this, in a small way,
compensates for the limitations of the survey in meeting the clients larger needs and interests.
Finally, the intent of Question 3 was to measure respondents levels of awareness and
interest in core RGAC services. The section on interest asked respondents to rate their level of
interest in core RGAC services on a scale of: This does not interest me, I would consider it, I
want to be there, and N/A. While these statements were designed to help respondents easily
identify their enthusiasm, the highest percentage of respondents selected I would consider it for
all items, with the exception of the upcoming exhibit (Eugene Bennett, A Life in Art). This

17
outcome seems to indicate that Question 3 may not have accurately measured respondents
interest in core services as intended.

18
Chapter 4: Findings
Overview of Survey Findings

The survey was composed of nine questions and was sent out electronically to 653
individuals derived from an email listing. These individuals had previously visited RGAC and
defined themselves as artists. The questions sought both quantitative and qualitative data;
asking information about demographics, interests, awareness, satisfaction, and frequency of
participation. Open-ended questions were also provided to give participants the opportunity to
share personalized ideas and opinions. Of the 653 surveys sent, 625 were delivered successfully,
and 130 responses were received (a 20.8% response rate).
Membership Standing
Question 1 determined respondents membership standing as: a currently enrolled
member, a past enrolled member, or not yet a member. Of 128 responses, seventy-three (57%)
answered currently enrolled member, twenty- three (18%) answered past enrolled member, and
thirty-two (25%) answered not yet a member.
Reasons for Attending RGAC
Question 2 listed ten possible reasons for attending RGAC and asked respondents to rank
how important or unimportant they found each reason on a 5 point scale. Table 1 illustrates the
number of responses, means, and standard deviation for each item.
Table 1. Reasons for Attending: Levels of Importance

Item n M SD
1. Artistic development 120 4.11 0.99
2. Socializing and meeting new people 120 3.48 0.82
3. Networking 117 3.67 0.92
4. The opportunity to exhibit 120 4.18 1.07
5. Viewing exhibitions and artwork 115 4.48 0.73

19
Table 1. Reasons for Attending: Levels of Importance Continued

6. Purchasing artwork in the Boutique 116 3.13 0.99
7. Meeting and learning from exhibiting artists 117 4.04 0.91
8. Finding inspiration 118 4.09 1.00
9. Getting involved in the community 117 3.61 0.98
10. Supporting the arts 113 4.35 0.73
Scale: 1-Extremely unimportant to 5-Extremely important

As shown in Table 1, of the ten items presented in question 2, respondents (95.0%, 115)
attributed a high average importance to the item: viewing exhibitions and artwork. Many
respondents (93.4 %, 113) also attribute a high average importance to the item: supporting the
arts; respondents (99.2%, 120) also attributed a high average importance to the item: the
opportunity to exhibit. Respondents (95.9%, 116) attributed the lowest average importance to the
item: purchasing artwork in the Boutique. See Table 2 for all frequencies and percentages based
on levels of importance regarding question 2. The numbers in bold indicate the levels of
importance or unimportance with the highest frequency.
Table 2. Question 2 (Reasons for Attending): Frequencies and Percentages by Item

Item Ranking Frequencies
Valid
Percentages
1. Artistic development 1 (Extremely unimportant)
2 (unimportant)
3 (Neutral)
4 (important)
5 (Extremely important )
Null (N/A)
2
6
12
52
47
1
1.7%
5.0%
10.0%
43.3%
39.2%
0.8%
2. Socializing and
meeting new people
1 (Extremely unimportant)
2 (unimportant)
3 (Neutral)
4 (important)
Null (N/A)
2
12
39
60
7
0
1.7%
10.0%
32.5%
50.0%
5.8%
0.0%

20
Table 2. Question 2 (Reasons for Attending): Frequencies and Percentages by Item Continued

3. Networking 1 (Extremely unimportant)
2 (unimportant)
3 (Neutral)
4 (important)
Null (N/A)
4
8
27
62
16
0
3.4%
6.8%
23.1%
53.0%
13.7%
0.0%
4. The opportunity to
exhibit
2 (unimportant)
3 (Neutral)
4 (important)
Null (N/A)
5
3
10
45
56
1
4.2%
2.5%
8.3%
37.5%
46.7%
0.8%
5. Viewing exhibitions
and artwork
2 (unimportant)
3 (Neutral)
4 (important)
Null (N/A)
2
0
4
44
65
0
1.7%
0.0%
3.5%
38.3%
56.5%
0.0%
6. Purchasing artwork in
the Boutique
2 (unimportant)
3 (Neutral)
4 (important)
Null (N/A)
8
19
46
36
7
0
6.9%
16.4%
39.7%
31.0%
6.0%
0.0%
7. Meeting and learning
from exhibiting artists
2 (unimportant)
3 (Neutral)
4 (important)
Null (N/A)
3
4
6
71
32
1
2.6%
3.4%
5.1%
60.7%
27.4%
0.9%
8. Finding inspiration 1 (Extremely unimportant)
2 (unimportant)
3 (Neutral)
4 (important)
Null (N/A)
4
4
17
45
48
0
3.4%
3.4%
14.4%
38.1%
40.7%
0.0%
9. Getting involved in the
community
2 (unimportant)
3 (Neutral)
4 (important)
Null (N/A)
5
6
40
45
21
0
4.3%
5.1%
34.2%
38.5%
17.9%
0.0%

21

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

10. Supporting the arts 1 (Extremely unimportant)
2 (unimportant)
3 (Neutral)
4 (important)
Null (N/A)
2
0
5
55
51
0
1.8%
0.0%
4.4%
48.7%
45.1%
0.0%

As indicated in Table 2, the majority of respondents attributed high importance to all
reasons for visiting. Larger proportions of respondents described shopping the Boutique,
socializing and meeting new people, and networking as neutral or unimportant.
Respondents (3.3%, 4) gave additional comments in the open space provided (See
Appendix H).
Awareness and Interest in Services
Question 3 asked respondents about their awareness and interest in core RGAC services.
Respondents were asked to rate their level of awareness on a scale of: No, I have not heard
about, Ive briefly heard about, or I know all about. Table 3 illustrates the number of responses,
means, and standard deviation for respondents awareness levels for all items.
Table 3. Awareness of Services: Levels of Awareness

Item n M SD
1. Exhibitions 106 2.61 0.54
2. Classes and Interactive Workshops 102 2.57 0.57
3. Adult Classes 102 2.56 0.61
4. Artist Teen Mentoring Project 98 2.04 0.80
5. Youth Classes 96 2.21 0.65
6. Membership Benefits 101 2.29 0.68
7. Lectures 104 2.13 0.72
8. Boutique 104 2.66 0.53
9. Professional Development Training 102 2.02 0.76
10. Current exhibition 105 2.03 0.80
11. Upcoming exhibition 102 2.28 0.71
Scale: 1-No, I have not heard about to 3-I know all about

22
Respondents (94.5%, 104) reported high average awareness for the Boutique, (96.4%,
106) for exhibitions, and (92.7%, 102) for adult classes. Respondents indicated lower average
awareness for Professional Development Trainings, the current exhibition (Best of the Best), and
the Artist Teen Mentoring Project. As both Best of the Best (an art show for the areas high
schools) and the Artist Teen Mentoring Project are youth related, lower average awareness may
be attributed to the fact that the minimum age requirement to participate in the survey was 18
years of age. See Table 4 for all frequencies and percentages based on levels of awareness
regarding question 3. The numbers in bold indicate the levels of awareness with highest
frequency.
Table 4. Question 3 (Awareness of Services): Frequencies and Percentages by Item

Valid
Percentages
12. Exhibitions 1 (No, I have not heard about)
2 (Ive briefly heard about)
3 (I know all about)
3
35
68
2.8%
33%
64.2%
13. Classes and Interactive Workshops 1 (No, I have not heard about)
4
36
62
3.9%
35.3%
60.8%
14. Adult Classes 1 (No, I have not heard about)
6
33
63
5.9%
32.4%
61.8%
15. Artist Teen Mentoring Project 1 (No, I have not heard about)
29
36
33
29.6%
36.7%
33.7%
16. Youth Classes 1 (No, I have not heard about)
12
52
32
12.5%
54.2%
33.3%
17. Membership Benefits 1 (No, I have not heard about)
13
46
42
12.9%
45.5%
41.6%
18. Lectures 1 (No, I have not heard about)
21
48
35
20.2%
46.2%
33.7%

23
Table 4. Question 3 (Awareness of Services): Frequencies and Percentages by Item Continued

19. Boutique 1 (No, I have not heard about)
3
29
72
2.9%
27.9%
69.2%
20. Professional Development Training 1 (No, I have not heard about)
28
44
30
27.5%
43.1%
29.4%
21. Current exhibition 1 (No, I have not heard about)
32
38
35
30.5%
36.2%
33.3%
22. Upcoming exhibition 1 (No, I have not heard about)
15
43
44
14.7%
42.2%
43.1%

As indicated in Table 4, aside from low levels of awareness for youth and teen programs,
respondents also reported lower levels of awareness for membership benefits, lectures, and the
previously mentioned Professional Development Trainings.
After establishing respondents awareness of RGAC core services, respondents interest
in core services was established. Respondents were asked to rate their level of interest on a scale
of: This does not interest me, I would consider it, or I want to be there. Table 5 illustrates the
number of responses, means, and standard deviation for levels of interest in all items.
Table 5. Interest in Services: Levels of Interest

Item n M SD
23. Exhibitions 99 2.44 0.64
24. Classes and Interactive Workshops 94 2.04 0.70
25. Adult Classes 95 2.01 0.66
26. Artist Teen Mentoring Project 92 2.05 1.08
27. Youth Classes 96 2.13 1.22
28. Membership Benefits 92 2.38 0.86
29. Lectures 95 2.32 0.67
30. Boutique 97 2.20 0.79
31. Professional Development Training 96 2.23 0.79
32. Current exhibition 95 2.37 0.64
33. Upcoming exhibition 94 2.47 0.70
Scale: 1-This does not interest me to 3-I want to be there

24
Respondents (94.5%, 104), reported high average levels of interest in the upcoming
exhibition (Eugene Bennett, A Life in Art). Respondents (85.5%, 94) also reported high levels of
interest for visiting exhibitions. Despite low levels of awareness, respondents (86.4%, 95)
reported high interest for the current exhibition (Best of the Best). See Table 6 for all frequencies
and percentages based on levels of interest regarding Question 3. The numbers in bold indicate
the levels of interest with highest frequency.
Table 6. Question 3 (Interest in Services): Frequencies and Percentages by Item

Valid
Percentages
1. Exhibitions 1 (This does not interest me)
2 (I would consider it)
3 (I want to be there)
Null (N/A)
5
48
43
3
5.1%
48.5%
43.4%
3.0%
2. Classes and Interactive Workshops 1 (This does not interest me)
Null (N/A)
18
57
16
3
19.1%
60.65%
17%
3.2%
3. Adult Classes 1 (This does not interest me)
Null (N/A)
18
60
15
2
18.9%
63.2%
15.8%
2.1%
4. Artist Teen Mentoring Project 1 (This does not interest me)
Null (N/A)
35
33
8
16
38%
35.9%
8.7%
17.4%
5. Youth Classes 1 (This does not interest me)
Null (N/A)
41
27
3
25
42.7%
28.1%
3.1%
26%
6. Membership Benefits 1 (This does not interest me)
Null (N/A)
10
50
19
13
10.9%
54.3%
20.7%
14.1%
7. Lectures 1 (This does not interest me)
Null (N/A)
7
55
29
4
7.4%
57.9%
30.5%
4.2%

25
Table 6. Question 3 (Interest in Services): Frequencies and Percentages by Item Continued

8. Boutique 1 (This does not interest me)
Null (N/A)
17
49
26
5
17.5%
50.5%
26.8%
5.2%
9. Professional Development Training 1 (This does not interest me)
Null (N/A)
14
53
22
7
14.6%
55.2%
22.9%
7.3%
10. Current exhibition 1 (This does not interest me)
Null (N/A)
5
53
34
3
5.3%
55.8%
35.8%
3.2%
11. Upcoming exhibition 1 (This does not interest me)
Null (N/A)
8
37
46
3
8.5%
39.4%
48.9%
3.2%

As indicated in Table 6, large proportions of respondents answered I would consider it
for all items, with the exception of youth and teen programs which were ranked of lower interest,
and the upcoming exhibition (Eugene Bennett, A Life in Art) which was ranked of high interest.
The high proportion of I would consider it responses may show a resistance to commit on the
part of respondents, or poor wording which failed to successfully measure the variable of
concern (interest).
Frequency of Participation in Services
Question 4 asked respondents to identify the frequency with which they participated in
core RGAC services. For visiting an exhibition, of 107 respondents 1.9% (2) answered Never,
3.7% (4) answered not within the last 2 years, 13.1% (14) answered once in the last 2 years,
38.3% (41) answered 1-3 times/year, 18.7% (18) answered 4-6 times/year, 13.1% (14) answered
7-9 times/year, 8.4% (9) answered 10-12 times/year, and 2.8% (3) answered 12+ times/year.

26
For showing in an exhibition, of 109 respondents, 35.8% (39) answered never, 17.4%
(19) answered not within the last 2 years, 19.3% (21) answered once in the last 2 years, 25.7%
(28) answered 1-3 times/year, 0.9% (1) answered 4-6 times/year, 0.0% (0) answered 7-9
times/year, 0.0% (0) answered 10-12 times/year, 0.9% (1) answered 12+ times/year.
For attending interactive workshops, of 106 responses, 51.9% (55) answered never,
21.7% (23) answered not within the last 2 years, 11.3% (12) answered once in the last 2 years,
14.2% (15) answered 1-3 times/year, 0.9% (1) answered 4-6 times/year, 0.0% (0) answered 7-9
times/year, 0.0% (0) answered 10-12 times/year, 0.0% (0) answered 12+ times/year.
For attending lectures, of 106 responses, 43.4% (46) answered never, 21.7% (23)
answered not within the last 2 years, 17.9% (19) answered once in the last 2 years, 16.0% (17)
answered 1-3 times/year, 0.9% (1) answered 4-6 times/year, 0.0% (0) answered 7-9 times/year,
0.0% (0) answered 10-12 times/year, 0.0% (0) answered 12+ times/year.
For attending Professional Development Trainings, of 104 responses, 68.3% (71)
answered never, 15.4% (16) answered not within the last 2 years, 7.7% (8) answered once in the
last 2 years, 6.7% (7) answered 1-3 times/year, 1.9% (2) answered 4-6 times/year, 0.0% (0)
answered 7-9 times/year, 0.0% (0) answered 10-12 times/year, 0.0% (0) answered 12+
times/year.
For shopping in the Boutique, of 105 responses, 23.8% (25) answered never, 12.4% (13)
answered not within the last 2 years, 24.8% (26) answered once in the last 2 years, 26.7% (28)
answered 1-3 times/year, 7.6% (8) answered 4-6 times/year, 2.9% (3) answered 7-9 times/year,
1.0% (1) answered 10-12 times/year, 1.0% (1) answered 12+ times/year (see Figure 1).

27

Figure 1: Frequency of Participation in Core Services
Client Expectations
In Question 5, respondents were asked how well core RGAC services met their
expectations in regards to: value, scheduled times offered, pricing, effective use of time,
medium(s) of interest, studio use and layout, staff interactions, and community interactions.
Table 7 illustrates the number of responses, means, and standard deviation for each item.
Table 7. Meeting Client Expectations: Levels Expectations

Item n M SD
1. Value 104 2.02 0.81
2. Scheduled times offered 102 1.95 0.80
3. Pricing 104 1.99 0.75
4. Effective use of time 100 2.06 0.92
5. Medium(s) of interest 103 1.91 0.77
6. Studio use and layout 102 2.06 0.75
7. Staff interactions 108 2.30 0.93
8. Community interactions 98 2.14 1.01
Scale: 1-Does not meet my expectation to 3-Exceeds my expectations

28
As shown in Table 7, the statistical means indicate that respondents felt their expectations
were met in all respects. While there were no items that significantly failed to meet respondents
expectations, a proportion of respondents (21.4%, 22) did answer that their expectations were not
met in the variable of mediums of interest; this was supported by comments made in open-ended
questions throughout the survey (see Appendix H). For Question 5, respondents (22.2%, 24)
gave additional comments in the open space provided. See Table 8 for all frequencies and
percentages based on how well clients expectations were met in regards to question 5. The
numbers in bold indicate responses with the highest frequency.
Table 8: Question 5 (Meeting Client Expectations): Frequencies and Percentages by Item

Valid
Percentages
1. Value 1 (This does not interest me)
Null (N/A)
13
65
15
11
12.5%
62.5%
14.4%
10.6%
2. Scheduled times
offered
1 (This does not interest me)
Null (N/A)
11
70
7
14
10.8%
68.6%
6.9%
13.7%
3. Pricing 1 (This does not interest me)
Null (N/A)
7
78
6
13
6.7%
75.0%
5.8%
12.5%
4. Effective use of time 1 (This does not interest me)
Null (N/A)
7
62
12
19
7.0%
62.0%
12.0%
19.0%
5. Medium(s) of interest 1 (This does not interest me)
Null (N/A)
22
60
13
8
21.4%
58.3%
12.6%
7.8%
6. Studio use and layout 1 (This does not interest me)
Null (N/A)
9
54
14
25
8.8%
52.9%
13.7%
24.5%

29

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

7. Staff interactions 1 (This does not interest me)
Null (N/A)
10
48
39
11
9.3%
44.4%
36.1%
10.2%
8. Community
interactions
1 (This does not interest me)
Null (N/A)
6
53
17
22
6.1%
54.1%
17.3%
22.4%

Effect of Atmosphere
Question 6 asked how the atmosphere at RGAC made visitors feel. Respondents could
check all feelings that applied, including: welcomed, comfortable, encouraged, inspired,
liberated, passionat, connected to the art community, unwelcomed, uncomfortable, discouraged,
uninspired, limited, bored, and not connected to the art community. Respondents (14.3%, 15)
gave additional comments in the open space provided. 105 individuals responded to this
question. Table 9 indicates which feelings were chosen with the most frequency.
Table 9: RGAC Atmosphere: Applicable Feelings

Item n
1. Welcomed 83
2. Comfortable 73
3. Encouraged 47
4. Inspired 57
5. Liberated 18
6. Passionate 24
7. Connected to the art community 53
8. Unwelcome 8
9. Uncomfortable 6
10. Discouraged 8
11. Uninspired 9
12. Limited 18
13. Bored 9
14. Not Connected to the art community 13
15. Other (please specify) 15

30
The top reported positive feelings at RGAC were welcomed, comfortable, inspired, and
connected to the art community. The top negative feelings respondents indicated were limited
and not connected to the art community.
Satisfaction with RGAC Services
Question 7 asked participants to identify their level of satisfaction with core RGAC
services on a six point scale. Table 10 illustrates the number of responses, means, and standard
deviation for each item.
Table 10: Satisfaction with Services: Levels of Satisfaction

Item n M SD
1. Visiting an exhibition 104 1.81 0.90
2. Exhibiting personal work 103 2.39 1.40
3. Attending workshops 103 2.49 1.41
4. Attending lectures 102 2.41 1.30
5. Attending Professional Development Training 100 2.61 1.42
6. Shopping in the Boutique 101 2.20 1.10
Scale: 1-Extremely satisfied to 5-Extremely Dissatisfied

As shown in Table 10, respondents (94.5%, 104) expressed the most satisfaction with
visiting an exhibition, and general satisfaction across the board. See Table 11 for all frequencies
and percentages based on levels of satisfaction regarding question 7. The numbers in bold
indicate the levels of satisfaction chosen most frequently.

31

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

Valid
Percentages
1. Visiting an exhibition 1 (Extremely satisfied)
2 (Satisfied)
3 (Neutral)
4 (Dissatisfied)
5 (Extremely dissatisfied )
Null (N/A)
37
52
7
1
3
4
35.6%
50.0%
6.7%
1.0%
2.9%
3.8%
2. Exhibiting personal work 1 (Extremely satisfied)
2 (Satisfied)
3 (Neutral)
4 (Dissatisfied)
Null (N/A)
15
28
22
5
4
29
14.6%
27.2%
21.4%
4.9%
3.9%
28.9%
3. Attending workshops 1 (Extremely satisfied)
2 (Satisfied)
3 (Neutral)
4 (Dissatisfied)
Null (N/A)
8
22
26
3
2
42
7.8%
21.4%
25.2%
2.9%
1.9%
40.8%
4. Attending lectures 1 (Extremely satisfied)
2 (Satisfied)
3 (Neutral)
4 (Dissatisfied)
Null (N/A)
5
29
28
0
1
39
4.9%
28.4%
27.5%
0.0%
1.0%
38.2%
5. Attending Professional
Development Training
1 (Extremely satisfied)
2 (Satisfied)
3 (Neutral)
4 (Dissatisfied)
Null (N/A)
4
15
23
3
1
54
4.0%
15.0%
23.0%
3.0%
1.0%
54.0%
6. Shopping in the Boutique 1 (Extremely satisfied)
2 (Satisfied)
3 (Neutral)
4 (Dissatisfied)
Null (N/A)
13
46
21
3
1
17
12.9%
45.5%
20.8%
3.0%
1.0%
16.8%

32
High percentages of respondents noted NA as their satisfaction level for the items:
exhibiting personal work, attending workshops, attending lectures, and attending Professional
Development Trainings. This may be explained by referencing Question 4, which asked
respondents to identify their frequency of participation in these services. In this question the
largest proportion of respondents indicated they had never participated in the items. Respondents
(12.3%, 13) also gave additional comments in the open space provided (See Appendix H).
Community Expansion
Question 8 asked respondents to indicate their level of interest in community expansion
projects currently under consideration at RGAC. The expansions included: collaboration with
local community organizations, special events tying to other Rogue Valley attractions, and
relevant films featuring artists beyond the Rogue Valley. The question also gave respondents the
option of selecting I am not interested in additional services or events, as well as space to
provide additional suggestions (See Appendix H). Respondents could mark all proposals that
interested them. Table 12 shows the number of responses for each item.
Table 12: Community Expansion: Proposed Ideas

Item n
1. Collaboration with local community organizations 52
2. Special events tying to other Rogue Valley attractions 58
3. Relevant films featuring artists beyond the Rogue Valley 50
4. I am not interested in additional services or events 19

The majority of respondents expressed high interest in all proposed expansions. This
sentiment was supported in Question 2 where a large number of respondents indicated that
community involvement was of importance or extreme importance.
Respondents (11.5%, 11) gave additional comments in the open space provided. Four of
the 19 respondents indicating they were not interested in additional services or events

33
commented in the open space that this was due only their physical inability to reach RGAC (See
Appendix H).
Communication
In question 9, respondents were asked if they felt current on RGAC events and offerings,
if they would like more or less information, and their preferred method of contact.
Of 95 responses, 84.2% (80) answered Yes to feeling current on RGAC events and
offerings, while 15.8% (15) answered No to feeling current on RGAC events and offerings.
Of 67 responses, 26.9% (18) answered wanting more information 4.5% (3), 64.2% (43) answered
wanting less, and 4.5% (3) answered wanting the same amount of information. For preferred
methods of contact, of 68 responses, 8.8% (6) answered mail, 86.8% (59) answered email, 0.0%
(0) answered phone call, 0.0% (0) responded text message, and 4.4% (3) responded Facebook.
Respondents (6.1%, 6) gave additional comments in the open space provided (see Appendix H).
Themes within Open-Ended Questions
Questions 2 (Reason for attending), 5 (Meeting expectations), 6 (Atmosphere), 7
(Satisfaction with Services), 8 (Community Collaboration), and 9 (Communication) provided an
open space for respondents for express additional comments (See Appendix H for full
commentaries). While not all responses were in direct relation to the question at hand, there were
dominant themes that could be identified.
Respondents expressed interest in expansion of the art community, and provided many
suggestions for how this might be done. One respondent stated, I am looking for a highly
involved and socially evolved artistic offerings which are integrated with community, or
challenging [the] community. Another respondent remarked, As an artist, [and]
activistcommunity outreach is important to me on any level. Additional respondents

34
commented: I would like to see the RG widen its medium focus. i.e. more interaction with
music, poetry, dance, etc., I find this disturbing[T]he perfect gallery for me would be one that
would be a place people would like to congregate for conversation, coffee, music along with the
visual arts; and I would like to see more call to artists, group shows with unusual themes,
shows benefiting a target community group, [for example, Dunn house, or the animal shelter, or
access, that would possibly get the general public interested in attending], fun art competitions
that get the community as well as artists excited, and shows featuring small affordable artworks
by a variety of artists that would enable the average person to start collecting his or her favorite
artist's work. Additional comments included suggestions for collaboration with RCC and
Ashland art centers, as well as off-site classes in Grants Pass.
Some respondents expressed dissatisfaction in exhibiting themes and standards. One
respondent remarked, I was disappointed that the member's show was a more limited scope than
last year - I don't paint food related items, so there really wasn't an opportunity for me to show
my work this past year. A common complaint revolved around the selection and approval
process for gallery submissions; many attributed rejection to narrowly defined standards and
exhibits. One respondent remarked, I feel a haughtiness, as if I didn't meet their criteria as a
person. Yes, I submitted work, and it was not accepted
Some respondents reported dissatisfaction in the mediums explored at the gallery. One
respondent remarked, Too enmeshed in the usual. Would like a show on utilizing 'junk' to make
art. Comments also included suggestions for more interactive and installation art, and a greater
balance between realistic and non-objective works. Respondents also expressed wanting to see
more mediums in classes and workshops.

35
Respondents also provided feedback on how core RGAC could be enhanced. Many
respondents commented that more meaningful interactions with staff could improve their
experience, while others commented that more training and better appreciation for volunteers
would be constructive. One respondent stated, Over the past year or more the environment has
changed. Administration door is always closed, interactions are not welcoming. It seems cold
rather than vibrant, despite several obvious improvements to the physical space. I no longer feel
drawn in.
Finally, there was as a significant portion of satisfied clients with many positive things to
say. Comments included: The Rogue Gallery does an incredible job with all that it takes on;
All the hard work that the folks who are responsible for the running of RGAC is highly
appreciated; Grateful; [a] functional space with needed supplies and teacher; Fabulous
auto-emails that I receive really keep me in the loop; and When viewing high quality artworks,
I become inspired and enthused with ideas.
Analysis of Findings
The statistical analysis included a series of correlations and analyses of variance
(ANOVA) run in Mini-Tab. Survey Monkey was also used to generate a series of cross-
tabulations. These analyses provided insightful information on the relationships and significance
of those relationships among surveyed variables.
Statistical Analyses: Membership Standing and RGAC Interactions
Data was run to investigate any differentiation in responses about awareness, interest,
satisfaction and participation that might be attributed to membership standing.

Membership Standing: Awareness of Membership Benefits

36
A visual inspection of the data suggested an interesting correlation: while currently
enrolled members made up 57% of survey respondents (Question 1), when asked about
awareness of membership benefits, the majority of respondents (45.5%) reported only having
heard briefly about (Question 2).
A One-way ANOVA was run to determine awareness of membership benefits among
currently enrolled members, past members and non-members. Resulting data showed a
statistically significant P value (less than 0.05), indicating a correlation between membership
standing and membership benefits awareness. As shown in Figure 3, past members know as
much or more as current members about membership benefits, while both past members and
current member know more than non-members.
Figure 2: Membership Standing: Awareness of Membership Benefits

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

Membership Standing: Frequency of Visiting Exhibitions

A One-way ANOVA was run to determine frequency of visiting exhibits among currently
enrolled members, past members and non-members. Resulting data showed a statistically
significant P value (less than 0.05), indicating a correlation between membership standing and
frequency of visiting exhibits. As illustrated in Figure 4, current members visit exhibitions more
frequently than past members, and current members and past members both visit more frequently
than non-members.

37
Figure 3: Membership Standing: Frequency of Visiting Exhibitions

low Frequency high

Membership standing: Awareness and Frequency of Participation in Workshops

A One-way ANOVA was run to determine awareness and frequency of participation in
workshops among currently enrolled members, past members and non-members. Resulting data
for membership status and awareness showed a statistically significant P value (less than 0.05),
indicating a correlation between membership standing and awareness of workshops. As shown in
Figure 5, past members are more aware of workshops than current members, while both past and
current members are more aware of workshops than non-members. One effecting factor may be
the early-enrollment privileges and discounts members receive.
Figure 4: Membership Standing: Awareness of Workshops

low Awareness high

Resulting data for membership status and frequency of participation in workshops also
showed a statistically significant P value (less than 0.05). Data reveals that members attend
workshops more frequently than non-members. Past members exhibit a wide range of
participation ranging from more frequent than non-members and slightly more frequently than
current members (see Figure 6).

38
Figure 5: Membership Standing: Participation in Workshops

low Participation high

Cross-tabulations: Reasons for Attending and Frequency of Attendance
Cross-tabulations ran in Survey Monkey were used to analyze the relationship between
respondents stated reasons for attending (Question 2), and their frequency of participation in
related services (Questions 4).
Respondents indicated that showing in an exhibit was important and extremely important,
however most attendance was within the range of never to one to three times a year, with the
largest proportion of respondents (30.8% ,28) indicating they have never shown their work at
RGAC (see Table 13).
Table 13: Importance of Opportunity to Exhibit: Frequency of Exhibiting

OpportunitytoExhibit
Important
Extremely
Important
Response
Count
FrequencyofExhibiting 41 48 89
Never 2 0
Notwithinthelast2years
10
8
onceinthelast2years 8 10
1-3times/year 11 14
4-6times/year 1 0
7-9times/year 0 0
10-12times/year 0 0
12+times/year 0 1
42 49 91

39
Table 14 shows respondents indicated viewing exhibitions was of importance. The
largest proportion of respondents (38.4%, 38) reported attending exhibits 1 to 3 times a year
(while exhibits rotate 8-10 times a year).
Table 14: Frequency of Visiting Exhibitions: Importance of Visiting Exhibitions

VisitingExhibitions
FrequencyofVisiting Important
Extremely
Important
Response
Count
Never 2 0
Notwithinthelast2years 1 3
1-3times/year 16 22
4-6times/year 6 13
7-9times/year 3 10
10-12times/year 4 5
12+times/year 2 1
39 60 99

Table 15 shows the frequency of participation in workshops, lectures, and Professional
Development Trainings for those respondents who rated artistic development as important or
extremely important (Question 2). This analysis works under the assumption that artistic
development would be derived from these services.
Table 15: Workshops, Lectures, and Professional Development Training Frequency

ArtisticDevelopment
FrequencyAttendingWorkshops Important
Extremely
Important
Response
Count
Never 23 19
1-3times/year 4 11
4-6times/year 1 0
7-9times/year 0 0
10-12times/year 0 0
12+times/year 0 0
46 40 86
FrequencyofAttendinginLectures
Never 21 16
1-3times/year 6 8
4-6times/year 1 0
7-9times/year 0 0

40
10-12times/year 0 0
12+times/year 0 0
47 41 88
FrequencyofAttendingProfessionalDevelopmentTrainings
Never 32 21
1-3times/year 2 5
4-6times/year 2 0
7-9times/year 0 0
10-12times/year 0 0
12+times/year 0 0
45 40 85

As seen in the Table above, 42 (48.8%) of respondents who rated artistic development as
important or extremely important reported never having attended a workshops, 37 (42%)
reported never having attended lectures, and 53 (62.4%) reported never having attended
Professional Development Trainings. These results indicate a possible disconnect between
attributed importance and participation in stated services by constituents.
Table 16 examines frequency of participation in lectures for those respondents who
attributed importance or extreme importance to the item: meeting and learning from exhibiting
artists (Question 2). Of those respondents, 38 (42.2%) reported having never attend a lecture.
Table 16: Lectures Frequency

MeetingandLearningfromExhibitingArtists
FrequencyofAttendingLectures Important
Extremely
Important
Response
Count
Never 25 13
1-3times/year 10 3
4-6times/year 1 0
7-9times/year 0 0
10-12times/year 0 0
12+times/year 0 0
60 30 90

Table 17 compares respondents frequency of shopping in the Boutique with the
importance attributed to the activity. While the majority of respondents rated shopping in the

41
Boutique as of neutral or unimportance (Question 2), the activity ranks second in participation
behind visiting an exhibition (Question 4). Of the respondents (39.2%, 41) who shop in the
Boutique one or more times a year (Question 4), 19 (34.5%) indicated it was neutral or
unimportant.
Table 17: Boutique Frequency

PurchasingintheBoutique
FrequencyofShoppinginBoutique Unimportant Neutral Important
Response
Count
Never 10 5 4
Notwithinthelast2years 3 5 4
onceinthelast2years 1 12 8
1-3times/year 2 15 8
4-6times/year 0 2 6
7-9times/year 0 0 2
10-12times/year 0 0 1
12+times/year 0 0 0
16 39 33 88

Statistical Analyses: Interest, Awareness, Participation and Satisfaction
Using Mini-tab, a series of basic statistical correlations were run to determine the relation
between elements of awareness, interest, frequency of participation and satisfaction for various
RGAC services, including: showing in an exhibition, visiting an exhibition, attending
workshops, attending lectures and shopping in the Boutique
In comparing awareness for exhibiting, interest in exhibiting, frequency of exhibiting,
and satisfaction with exhibiting; data shows positive correlations between all variables. The most
statistically significant correlation (less than .05), is between frequency and satisfaction.

42
Figure 6: Correlations: Exhibiting Artwork

Awareness Interest Participation
Interest 0.097
0.343

Participation 0.071 0.103
0.474 0.317

Satisfaction 0.137 0.164 0.231
0.253 0.192 0.047

In comparing interest in workshops, awareness of workshops, frequency of participation
in workshops, and satisfaction with workshops, all coefficients show a statistically significant
positive correlation. If participants are interested in workshops, they are also aware of
workshops, if they are aware of workshops they also attend, and if they attend they are satisfied
(See Figure 8).

Figure 7: Correlations: Workshops


Participation 0.263
0.012

Awareness 0.208 0.302
0.046 0.002

0.012 0.013 0.130

In comparing interest in visiting exhibitions, awareness of exhibitions, frequency of
visiting exhibitions, and satisfaction with visiting exhibitions, statistically significant correlations
are found between both awareness of exhibitions and interest in exhibitions with frequency of
visiting exhibitions. If participants are interested in exhibitions, they are aware, and if they are
aware they are more likely to attend (See Figure 9).

43
Figure 8: Correlations: Visiting an Exhibition

Interest 0.097
0.343

0.001 0.002

0.491 0.350 0.081

Comparison of interest in lectures, awareness of lectures, frequency of participation in
lectures, and satisfaction with lectures, indicates statistically significant correlations between
awareness and attendance, and interest and attendance. If participants are aware of the lectures,
they will attend, and if they are interested in the lectures they will attend. Satisfaction and
frequency of participation also show a positive correlation, indicating that the more frequently
respondents attend lectures, the more satisfied they become (see Figure 10).
Figure 9: Correlations: Lectures


Interest 0.034
0.748

0.001 0.014

Satisfaction 0.093 -0.179 0.447
0.481 0.194 0.000

Comparison of interest in the Boutique, awareness of the Boutique, frequency of visiting
the Boutique, and satisfaction with the Boutique, indicates a statistically significant correlation
between interest and frequency of visitation - if participants are interested in the Boutique, they
are more likely to visit the Boutique. Interest and frequency also show a positive correlation if
participants are aware of the Boutique they are more likely to visit the Boutique. As a final
correlation, results show that the more aware, interested, and frequently participants visit the
Boutique, the more satisfied they become (see Figure 11).

44

Figure 10: Correlations: Boutique

Interest 0.176
0.086

0.222 0.000

0.009 0.001 0.000

Comparison of interest in Professional Development Trainings, awareness of Trainings,
frequency of participation in Trainings, and satisfaction with Trainings, indicates a statistically
significant correlation between awareness and frequency if participants are aware they are
more likely to attending. There is also a significant correlation between frequency and
satisfaction, indicating that the more frequently participants attend the trainings, the more
satisfied they become (see Figure 12).
Figure 11 Correlations: Professional Development Trainings

Interest 0.154
0.136

0.001 0.071

0.285 0.135 0.050

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Chapter 5: Conclusion and Recommendations

Summation of Findings

Findings of the survey can be organized in accordance to their relationship with RGACs
Strategic Pillars as presented in Chapter 1:
1. Achieve organizational stability by building the success of exhibition and education programs;
2. Broaden cultural influence by expanding visibility, audience and education programs; and
3. Enrich community relationships through strengthening and expanding community collaborations
and partnerships.
Organizing findings under these Pillars will allow the surveys contribution to RGACs
advancement towards these goals to be more easily seen.
Achieving Organizational Stability
The demographics of survey respondents (57% current members, 18% past members,
25% non-members) suggest the importance of member support for RGACs organizational
stability. Subsequent findings regarding these members interests, awareness, satisfaction and
participation are also important for RGAC to inspect in order to obtain the first pillar of
organizational stability.
Findings of the survey show that participant interests are in-line with the original purpose
of RGAC, as a place to learn and share art. Most important to artists were opportunities to
exhibit personal artwork, view exhibitions, find inspiration, and learn from exhibiting artists,
respectively. Findings also suggest the success of RGACs marketing efforts and resource
allocation, as artists showed highest awareness for those services they found most important. As
a point for inspection, findings showed that participants were less aware of youth related

46
services, including youth classes, the Teen Mentoring Project, and the annual high school
exhibition Best of the Best. In comparison, findings showed very high awareness and very high
interest for the upcoming exhibition at the time (Eugene Bennett, A Life in Art).
Perhaps one of the most important contributions to RGACs pursuit of the first Pillar is
the portrait of participation the research developed. Findings showed that while participants
were generally aware and interested in core RGAC services, this awareness and interest was not
translating to participation. While exhibiting personal artwork, visiting an exhibition, and
seeking artistic development ranked high in importance and awareness, related items showed that
the largest number of respondents had never participated 35.8% had never showed their
artwork, 51.9% had never attended a workshop, 43.4% had never attended a lecture, and 68.3%
had never attended Professional Development Trainings. If these services are important to
respondents and respondents are aware these services are offered at RGAC, achieving the first
Pillar will require further efforts to ensure interest and awareness more strongly translate to
participation. On a positive note, while respondents did not report shopping at the Boutique to
be of great importance, findings showed that this activity was one of the most popular at RGAC
ranking second to visiting an exhibition. This finding suggests that RGACs Boutique is an
important part of the RGAC experience.
For those who do participate in core RGAC services, findings showed that expectations
were met across the board. However, a large number of respondents (24%) did report the item:
mediums of interest did not meet their expectations. This sentiment also surfaced in comments
given in the open spaces provided throughout the survey. Many respondents encouraged RGAC
to expand their scope of mediums both in exhibitions and workshops.

47
When asked about the atmosphere at RGAC, a vast majority of respondents checked
those feelings with a positive connotation welcome (79%), comfortable (69.5%), inspired
(54.3%), and connected to the community (50.5%). While very few checked those feelings with
a negative connotation, a notable proportion did report feeling limited (17.1%) possibly a
reflection of the above mentioned dissatisfaction with mediums of interest. Some respondents
(12.4%) also reported not feeling connected to the art community, an item whose importance
continually resurfaced in the open spaces provided throughout the survey. The importance of
community connectedness to respondents was also prevalent in Question 3, where an
overwhelming majority expressed support of proposed RGAC community outreach and
expansion projects.
Broadening Cultural Influence and Enriching Community Relationships
As previously mentioned, respondents (56.4%) rated community involvement as
important or extremely important. This sentiment was strongly echoed in commentary offered in
open spaces throughout the survey. Findings also showed that many respondents (94.8%)
attributed importance or extreme importance to the item: supporting the arts, and when asked
about interest in proposed community expansion efforts, overwhelming interest was shown.
Cumulatively, these findings suggest that community outreach and expansion is of great
importance to the RGAC constituency, and that RGAC, in pursuit of the second and third Pillars,
will likely find great support.
Recommendations
Improvements to Current Services
Questions 2, 3 and 4 asked respondents to identify: 1) reasons for attending RGAC, 2)
interest in and awareness of core RGAC services, and 3) frequency of participation in core

48
RGAC services. For visiting exhibitions, and attending workshops, lectures, and Professional
Development Trainings, findings indicate that there is a direct correlation between awareness,
interest, and frequency of attendance. Correlations reveal that when respondents are both aware
and interested in a service, they are also likely to attend. Findings also indicate, however, that
the correlation is weak while respondents are highly interested and highly aware, this interest
and awareness is not translating to high levels of participation. If these services are important to
respondents and respondents are aware these services are offered, RGAC must investigate and
explore how interest and awareness can better translate to participation. Some ideas may include:
Free Introductory Services with New Membership considering 57% of survey
respondents were current members, yet 51.9% of respondents had never attended a
workshop, 43.4% had never attended a lecture, and 68.3% had never attended
Professional Development Trainings, RGAC may consider the financial feasibility of
offering complementary services with new memberships. Doing so would encourage all
new members, artist or not, to take advantage of the offer and try-out the array of
available services ultimately becoming more involved in the RGAC community. In the
case that such a change was implemented, RGAC might also consider sending new
members invitations and reminders when the opportunity to use their complimentary
voucher(s) comes up.
Punch Cards or Point Systems RGAC might further incentivize participation through a
reward or loyalty scheme. Such a scheme could apply to both members and non-
members. Points for each time the artist attends a workshop or visits an exhibit could
add-up to a workshop discount, a gift of choice from the Boutique, a base-sum for use at
the annual auction, or other exciting perks. The scheme could also potentially be used to

49
track and appreciate RGACs greatest supporters, or to award smaller supporters with
smaller gifts like RGAC t-shirts or coffee mugs.
More Pictures and Videos Please! Workshop descriptions with pictures are nice for
web-site shoppers who may not be familiar with the advertised mediums and techniques.
RGAC might consider making the workshop section on the web-page a bit more robust
with links to videos and pictures of participants learning and doing the new technique
(much like on the RGAC Facebook page).
Respondents reported that the opportunity to exhibit personal artwork was of utmost
importance rated as important or extremely important by 84.2% of surveyed artists, yet 35.8%
of the artists reported having never shown their work. Many expressed frustration and
disappointment that their pieces had not been accepted, and that they had failed to meet criteria
for exhibiting in the main gallery.
A Place Where All Artists Belong - RGAC may consider hosting an annual event with no
limiting criteria for acceptance, allowing all those who wish to exhibit a chance to show
their work. This event may be more informal than a standard exhibition and thus some of
the usual administrative burden could be alleviated (i.e. artists could bring their own
easels and ways of displaying). Such an event could be essential in assuaging feelings of
exclusion and rejection expressed by participants. RGAC may consider sending an
invitation to all those involved with RGAC requesting they Please Come Show! their
work. RGAC might also consider keeping track of all those who submitted work for
exhibition but were rejected, finding a way to reach-out to this population and re-invite
their participation. An open showing might also become an annual or seasonal meet-and-
greet, if not simply for all those connected to RGAC, than for all current members. The

50
meet-and-greet would be a fun opportunity for artists to mingle, network, show their
work, and feel part of a community all positive feelings that could be generated from
RGAC.
A theme that surfaced from respondents was dissatisfaction in the handling of complaints.
Those who expressed dissatisfaction explained having complained with the intent to resolve the
issue and remain content at RGAC, however, once they experienced what they considered an
unsatisfactory handling of their problem, they expressed less enthusiasm in continuing the
relationship.
Client Satisfaction is an RGAC Priority complaints are inevitable in the service
industry, therefore it is essential to find an excellent way of handling clients concerns
and maintaining healthy relations. RGAC should consider developing a system where
participants satisfaction levels are consistently gauged. Whether through comment cards
or inquiry by executive staff, participants must feel that their satisfaction is an RGAC
priority. If clients feel that their satisfaction is an RGAC priority, they we be more
inclined to share frustrations and ideas, and less prone to lend themselves to building
resentment.
Marketing
Findings about the Boutique proved interesting, while 56.1% of respondents rated shopping
in the Boutique as unimportant or of neutral importance, the item ranked as the second most
popular activity at RGAC next to visiting an exhibition. Of those respondents who rated
shopping in the Boutique unimportant or neutral, 39.2% reported shopping 1 or more times a
year.

51
An Important Part of the RGAC Experience Techniques utilized in the Boutique have
proved successful, attracting onlookers despite attributed levels of importance. RGAC
should continue to value the Boutique as an important part of the RGAC experience.
RGAC might also investigate if there are any practices affecting the Boutiques success
that are transferable to other services. (As an added note, secondary sources suggest the
importance of replenishing inventory frequently, and including a variety of showcased
pieces to attract buyers interests.)
Findings showed that participants were less aware of youth related services, including youth
classes, the Teen Mentoring Project, and the high school exhibition (Best of the Best) occupying
the main gallery at the time of the survey. In comparison, participants reported high levels of
awareness for the upcoming exhibition (Eugene Bennett, A Life in Art). While it is logical
respondents may have shown less awareness for these items due to the 18 years of age limit on
the survey, these programs are nonetheless essential elements to RGACs work, and it is
reasonable to consider the many children and family members of respondents who could be
served if awareness was improved.
Never Miss-Out on a Client Considering low levels of awareness, RGAC should ensure
sufficient resources are allocated to the promotion of youth related programming. RGAC
should also ensure that these programs are being promoted to all those involved with the
organization, and not merely to those who appear an obvious candidate (i.e. teachers,
parents and children). One respondent wrote I like the amount of info I get from RGAC,
I get info via email, Facebook, and the printed calendar and cards that are mailed out. I
feel like you do a good job reaching me - although exhibits that aren't featured seem to
slip past me, like the Teen exhibits. It could be you send them and I don't notice though.

52
RGAC should also reflect on practices used to promote Eugene Bennetts, A Life in Art,
and identify any practices that could be transferred to the promotion of other exhibits and
events.
Survey results indicated that supporting the arts was regarded important or extremely important
by 93.8% of respondents.
I Support the Arts, I Support RGAC! To encourage participants in their enthusiasm for
supporting the arts, RGAC might consider helping their supporters to show-off this
interest. Bumper Stickers, T-shirts, Coffee Mugs, and far more creative things that artists
could think of, are great ways to give RGAC artists a way to show the community how
and where they support the arts. Providing these items is also a great way to get RGACs
name out into the community, and to make sure everyone knows that supporting RGAC
means supporting the arts.
Findings showed that awareness of membership benefits was lacking, with 45.5% of respondents
stating they had only briefly heard about membership benefits, with a good portion being
currently enrolled members.
Members, Know Your Rights! - As members are such an essential part of the RGAC
operation, the organization must ensure that members are as aware of their membership
benefits as they can possibly be. Communicating membership benefits to all, regardless
of membership standing, is also important for enticing new members to come enjoy the
benefits of membership and have a more satisfying experience overall.
RGAC should continue to look towards collaborative efforts to market themselves within the
community.

53
Artistically fresh public spaces As a way to reach out to new partners and friends,
RGAC should consider the possibility of expanding their art leasing program to local
businesses like banks, board rooms, medical offices, and interior designers and stagers.
Secondary research indicates the value of art leasing programs for building a
communitys involvement in the arts giving business owners the opportunity to
surround themselves with gratifying art, and community members the opportunity to
enjoy artistically fresh public spaces, all the while allowing artists to show their pieces
outside the gallery setting. Expansion of the art leasing program could be a great way for
RGAC to strengthen its public presence and provide artists with additional opportunities
to be publicly admired.
Community Expansion
Community involvement was rated as important or extremely important by 56.4% of
respondents. This sentiment was reinforced by comments in open spaces throughout the survey
and in Question 8 where respondents showed overwhelming support for community expansion
and outreach. Secondary research also stresses the importance of art galleries not only for their
visitors but for the entire community.
Listen to the Client Respondents suggested an RGAC sponsored paint-out or quick-
draw in downtown Medford, more variance in exhibition and event themes, lively
festivities that include music, poetry and dance, or even the addition of a small caf in the
facility to make RGAC a place where people could come to socialize. Some respondents
recommended RGAC collaborate with charitable organizations in the community like the
Dunn House and Animal Shelter. As RGAC works with learners in our region, they
should also consider reaching-out to the Osher Lifelong Learning Institute, and those

54
living in retirement communities. These partnerships and expansions would help RGAC
further develop their community presence.
Making the Heart Beat Perhaps RGACs biggest contribution would be in helping the
community define an identity and sense of place. Using the recommendations provided
in the secondary research, RGAC could help the community to take a cultural inventory,
this would also allow RGAC to better understand what new community needs they could
serve.
Defining Community As a necessary predecessor to the above mentioned
recommendation, RGAC must define its community. Many members noted the long
distances they travel to participate at RGAC Klamath Falls, Cave Junction, Grants Pass,
Yoncalla, and Ashland. If RGAC wishes to include these regions, they must be mindful
that their efforts make surrounding areas feel involved. RGAC should also be sure to
incorporate their decisions about community into their image if they decide to include
areas surrounding Medford, they should be sure to promote themselves as a hub for
artists from all over the region. A wider definition of community may also allow for new
opportunities to collaborate as secondary research suggests, RGAC must identify the
hottest cultural attractions in the region, and find ways to get in on the scene.
Suggestions for Future Studies:

This research builds on a survey of RGAC members (focusing mainly on demographics)
conducted in earlier 2011. Considering the scope of these two surveys, the following are
suggestion for follow-up research:
Direct questioning of current constituents regarding what could be done to increase their
participation in core RGAC services.

55
A survey to guide RGAC in their community expansion efforts, targeted at the larger
community (i.e. art teachers at local schools, SOU/HEC art students, local organization
leaders, and all others who are not yet attending RGAC, etc.).
While both these items were investigated to some extent in this research, findings were
inconclusive, and further research is needed. While frequency of participation was investigated
by drawing correlations with interest, awareness, and satisfaction, we found correlations to be
weak, and suspect more could be done to better understand the variable of participation. While
we investigated community expansion through select questions in the survey, our findings
indicate only the great amount of support and enthusiasm for the subject. Our secondary
research also showed enthusiasm for community expansion as well as recommendation of how
this might be done, however this research was not localized to the Medford or even Southern
Oregon area. Future research should venture out into the communitys unexplored populations,
to determine how RGAC can best be involved and meet community needs. In conclusion,
RGAC and other small arts organizations could benefit from further related research in order to
meet their goals.

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Appendix A: Research Proposal

April 10, 2012

School of Business
1250 Siskiyou Blvd.
Ashland, OR 97520

Dear Frann Wolfe:

The purpose of this letter is to verify our intent to pursue the MBA research project in
conjunction with Southern Oregon University and the Rogue Gallery & Art Center (RGAC) as
discussed on April 3, 2012 and to explain our understanding of the tasks we are expected to
accomplish.

Before proceeding, we are required to present you with the following statement concerning the
nature of the student consulting engagement:

This research project is made possible under the cooperative agreement between Rogue
Gallery & Art Center and the Southern Oregon University School of Business. The
analysis, recommendations, and final report that will be provided are based on provisions
of that agreement. The report you will receive should not be interpreted as the official
position of SOU. Rather it will contain views and opinions of the School of Business
student research team based on discussions, observations, investigations, and analysis of
your organizations operations and its business environment.

Based upon our discussions with you, we intend to accomplish the following tasks:

The general research objective is to survey both the members and non-members RGAC
who define themselves as artists and use the array of gallery and studio services offered.
Our purpose is to understand these members current involvement with Rogue Gallery &
Art Center and how this involvement can best be enhanced in the future.

In efforts to reach this objective, our specific research goals are as follows:

We will survey the RGAC artist community regarding their current awareness and
involvement with gallery and art studio services. We will seek to understand how Rogue
Gallery & Art Center can better meet artists expectations to increase involvement and
satisfaction. We will also seek to understand how involvement and awareness can be
improved through better communication. We will survey to understand:

demographics of participation amongst RGAC artists;

57
artists familiarity with RGAC base services and ongoing/ upcoming offerings as
well as how Rogue Gallery & Art Center can most effectively communicate with
constituents;

gage artists level of overall satisfaction with RGAC services and interactions;

what additional services and opportunities artists would like to have offered, in
what form and at what times, and how Rogue Gallery & Art Center studio and
exhibition spaces can be improved

We will provide suggestions where the Rogue Gallery & Art Center may meet their goal
to improve services based upon survey results and external research. In our external
research, we will consider what other well established galleries in the nation offer.

Whereas additional tasks may be undertaken (time allowing), our emphasis will be on
completing the above described tasks.

It is our goal to provide you with a briefing and written report by June 12, 2012, within which we
will summarize our findings. We hope that the resulting information will be helpful to the
Rogue Gallery & Art Center as they seek to improve artists involvement and satisfaction.

We thank you for giving us the opportunity to apply our skills to your meaningful purpose. We
look forward to working with you and helping Rogue Gallery & Art Center continue to develop
into the community cornerstone that it deserves to become.

_________________________________ ______________________________
Ammi Kamhoot Hartley Sulaiha McDougall
Student Researcher and Consultant Student Researcher and Consultant

__________________________________
Frann Wolfe
Rouge Gallery and Art Center

________________________________ ________________________________
Donna Lane Mark Siders
MBA Program Director MBA Program Director

58
Appendix B: IRB Form

INSTITUTIONAL REVIEW BOARD (IRB)
REVIEW REQUEST
FOR PROJECTS USING HUMAN SUBJECTS

Investigators are responsible for ensuring that the rights and welfare of human subjects
participating in research activities are protected, and that methods used and information provided to
gain subject consent are appropriate to the research.

All research activities involving the use of human beings as research subjects (participants)
must be reviewed and approved by the Southern Oregon University Institutional Review Board
(IRB), unless the IRB chair determines that the research falls into one or more of the categories of
exemption established by federal regulation. These categories include research conducted in
commonly accepted educational settings involving normal educational practices such as research on
regular and special education instructional strategies, research on the effectiveness of or the
comparison among instructional techniques, curricula, or classroom management methods. Also
exempt is research involving the use of educational tests (cognitive, diagnostic, aptitude,
achievement), survey procedures, interview procedures or observation of public behavior. However,
each category of exemption contains specific exceptions. Please note that only the IRB may make
the determination if the research qualifies for exemption under Title 45 CFR 46.101.

Investigators may not solicit subject participation or begin data collection until they have
received approval or written concurrence that research has been determined to be exempt from the
Institutional Review Board.

Application forms are available on the Internet at Research & Human Subjects Clearance. The
form may be downloaded and completed but must be submitted in hard copy due to signature
requirements. If you have questions about the IRB application form or about the review process,
contact:

Deborah dEste Hofer
Grants Administration
Churchill #205

Phone: 552-8662 /E-mail: hofer@sou.edu

59
INSTITUTIONAL REVIEW BOARD (IRB)

The Institutional Review Board generally meets on an ad hoc basis as proposals are submitted for
review. Applicants must allow 2 weeks for the review process.

A notice of the IRBs action will be sent to the researcher(s). It is the responsibility of the
researcher(s) to see that the form is given to any agency which may require it.

Title 45 Code of Federal Regulations Part 46 (45 CFR 46) Protection of Human Subjects
specifies federal regulations for the conduct of research involving human subjects. See especially
sections 46.102 Definitions, 46.116 General Requirements for Informed Consent, and 46.117
Documentation of Informed Consent. The document is available at
http://ohrp.osophs.dhhs.gov/humansubjects/guidance/45cfr46.htm. See references throughout
this application to 45 CFR 46.

INSTRUCTIONS:

Your responses to the 21 questions in the summary sheets that follow are basic to the Institutional
Review Boards determination about the protection of the rights and welfare of human subjects in
your research. Your responses should be clear, complete, and easy to understand.

Place your typewritten response immediately under each question (not on a separate sheet). It is
important that you answer every question. If you believe that a question does not apply to your
research, enter a response such as N/A or does not apply.

Copies of the following must be included with this form:
1. The cover letter and script that will be used to inform subjects of the nature of the research.
2. The informed consent template the subject(s) will sign.
3. Copies of surveys, instruments or measures, questionnaires, interview schedules, focus group
questions and/or other materials used to collect data.

Submit one complete hard copy and one digital copy (via e-mail or disk) to:

Institutional Review Board
Grants Administration
Churchill #205
Atten: Deborah dEste Hofer

60
Title Page

For office use only
PROTOCOL/FIS
NUMBER:

Review Form for Projects Using Human Subjects

Grants & Human Subjects Administration #205

Research
Project Title
Rogue Gallery & Art Center, Artist Awareness and Satisfaction

Principal
Investigator

Name (first, middle initial, last):

Donna, Lane
Phone:

(541) 552-8203
University Relationship:
Professor
Associate Professor
Assistant Professor
Instructor
Other. Please
specify. (Other
categories may require
prior approval.)

Department:

School of Business
E-mail:

laned@sou.edu

Signature:
Date:
X
Fax:
(541) 552-6715

Co-Investigator


Sulaiha, McDougall
Phone:

541-787-5215
Faculty
Staff
Graduate Student
Undergraduate
Student
Department:

School of Business, MBA

E-mail:

mcdougals@sou.edu

61
Other. Please
specify.

Signature: _________________________
Date: _____________________________

Fax:

Co-Investigator


Ammi Kamhoot-Hartley
Phone:

541-292-0894
Faculty
Staff
Graduate Student
Undergraduate
Student
Other. Please
specify.

Department:

School of Business, MBA

E-mail:

kamhoota@gmail.com

Signature: ___________________________
Date: _______________________________
Fax:

Application Questions
Please type your responses.

INTRODUCTION TO THE PROPOSED RESEARCH

1. Provide the date when you propose to begin research and the date when you anticipate that
research will be completed.

Proposed start date: 5/1/2012

Anticipated completion date: 6/12/2012
2. Indicate any source(s) of funding for the proposed research i.e., department funds or grants.

none

DESCRIPTION OF THE PROPOSED RESEARCH

3. Provide a brief (1 page or less) description of the purpose of your research.

The general research objective is to survey both the members and non-members of Rogue
Gallery & Art Center (RGAC) who define themselves as artists and use the array of
gallery and studio services offered. Our purpose is to understand these members current
involvement with RGAC and how this involvement can best be enhanced in the future.

In efforts to reach this objective, our specific research goals are as follows:

62
We will survey the RGAC artist community regarding their current awareness and
involvement with gallery and art studio services. We will seek to understand how Rogue
Gallery & Art Center can better meet artists expectations to increase involvement and
satisfaction. We will also seek to understand how involvement and awareness can be
improved through better communication. We will survey to understand:

demographics of participation amongst RGAC artists;

artists familiarity with RGAC base services and ongoing/ upcoming offerings as
well as how Rogue Gallery & Art Center can most effectively communicate with
constituents;

gage artists level of overall satisfaction with RGAC services and interactions;

what additional services and opportunities artists would like to have offered, in
what form and at what times, and how Rogue Gallery & Art Center studio and
exhibition spaces can be improved

4. Indicate the setting or location(s) where research will be conducted. Attach letters of
support or agreement, as necessary, showing that you have permission to conduct research at
that location.

Each respondent will receive an email requesting participation with the linked survey.

5. Describe any potential problems of ethics using human subjects (painful stimulation,
deception, coercion, embarrassment, lack of confidentiality, lack of full disclosure, lack of
feedback for subjects, etc.).

NA

6. Does the proposed research require that you deceive participants in any way?

Yes No
7. If your response is yes, describe the type of deception you will use, indicate why it is
necessary for this study, and provide a copy of the debriefing script.

NA

8. What is required of subjects?

Subjects are required to have internet/email access to complete the survey. Subjects are
requested to share personal feelings/opinions about Rogue Gallery & Art Center services
and interactions. The survey will consist of twelve to fifteen questions, including a few
demographic questions (specifically related to involvement with Rogue Gallery & Art
Center) and a few open-ended questions. We aim to develop a meaningful and
straightforward survey that can be completed by respondents in reasonable time.

63

9.
What happens to subjects (include a description of any instruments used)?

Subjects take time on a computer to complete the survey in an online survey collection and
analysis program (Survey Monkey).

BENEFITS AND RISKS

10. Describe the potential benefits of conducting this research. List the benefits to the
participants themselves, contributions to the field of knowledge, and benefits to society as a
whole. If the research participants will not receive any direct benefits from participating in
this study, indicate this in your response.

Participants will benefit from improved RGAC services and in turn receive improved
opportunities for artistic and personal development. RGAC will benefit from information
aimed at providing specifics on how to improve RGAC facilities, services, and customer
satisfaction.

11. Describe any potential risks that a research participant may become upset or distressed as a
result of their participation in this study. When appropriate, provide a list of community
agencies or counseling services so that participants can be directed to assistance as needed.

NA

PARTICIPANTS

12. Indicate the total number of participants you require, and your sampling procedure.

Approximately 700 participants will be surveyed. Surveys will be sent to all members and
non-members who have registered with RGAC as artist and given their email in the
process.

13. Describe the type and source of subjects required (i.e., single parents at SOU, psychology
classes, hysterectomy patients at Rogue Valley Medical Center, fifth graders at Walker
Elementary School, etc.).

Artists registered with RGAC. RGAC will be providing a list of emails for these
respondents.

14. Provide an estimate of the amount of time that will be requested from each person who
participates in this research study (number of sessions, amount of time per session, and
duration or period of time over which the research will take place).

1 session per respondent, ~10-20min.per session, sessions from 5/1/2012 5/15/2012

64
INFORMED CONSENT PROCEDURES

15. Describe what you have done to make sure your subjects are fully informed about their role
in the research, that their confidentiality will be maintained, and that their participation is
voluntary, and that they can withdraw at any time without penalty.

Before beginning the survey, respondents will be presented with a disclaimer giving accurate,
complete, and comprehensible information about the nature of the research and their rights
as research subjects including their right to confidentiality and voluntary participation that
can be withdrawn at any time without penalty.

16. Describe any incentives, inducements, or reimbursements (e.g. extra credit, research
credit, cash payment, raffle, gift) that will be offered to the participants. Indicate whether
participants will receive the incentives if they withdraw before the study has been completed.

Respondents will be offered the opportunity to enter for a chance to win a free workshop
session of their choice with RGAC.

CONFIDENTIALITY OF THE DATA

17. Indicate the intended use of your data. Check all that apply.

Thesis Publication/journal article

Capstone Results released to participants/parents

Undergraduate honors project Results released to employer or school

Conferences/presentations Results released to agency or
organization
Other. Describe below.

18. Describe the steps you will take to insure the confidentiality of the data. Indicate how you
will safeguard data that includes identifying or potentially identifying information (e.g. coding).
Indicate when identifiers will be separated or removed from the data.

We will be using the survey software Survey Monkey through which all identifying markers
connecting responses to respondents can, and will, be erased upon receiving responses.

19. Indicate where and how you will store the data and how long you plan to retain it. (Research
proposals that involve any type of use of human subjects must be retained for 3 years.)
Describe how you will dispose of it (e.g. erasure of tapes, shredding of data).

65
Data will be stored in Survey Software as well as moved to Excel for interpretation. The
report will be held in the SOU School of Business office for 5 years.

20. Will results of this research be made available to the subjects involved?
Yes No

21. If so, how and when?
Involved subjects will be informed that they can contact Donna Lane, Associate Professor at the
SOU school of Business (contact information listed above)

66
Appendix C: IRB Exemption

IRB Review, Determination & Approval

Images are not displayed. Display images below - Always display images from hofer@sou.edu
School of Business Research Projects

Hello brilliant students. I completed necessary review of the projects listed below. They are
unconditionally approved.

You will receive a formal letter of approval under separate cover. I just wanted you to know you
were cleared to start data collection.

Thank you for your clear and complete presentations. Fell free to contact me with questions.

Best of luck and have fun.
1. Community College Articulation Exempt
2. Rogue Valley Growers & Crafters Exempt
3. Earth Paints LLC Exempt
4. Organic Nation Exempt
5. Rogue Gallery & Art Center Exempt
6. SOU Non-Profit Management Certificate Exempt
7. Pacific Crest Federal Credit Union Exempt
8. Grower's Market Economic Impact Exempt
9. Evaluation of Full Time University Faculty Exempt

Deborah d'Este Hofer MM

Grants & Sponsored Programs
Institutional Review Board
1250 Siskiyou Blvd
Ashland, OR 97520
Computing Services West 210
541.552.8662
hofer@sou.edu

67
Appendix D: Email Survey (Initial)

RGAC Artist Satisfaction Survey

Dear Artists,

Thank you for your involvement with Rogue Gallery & Art Center (RGAC).

The Rogue Gallery & Art Center is conducting research and needs your feedback!

We hope you can take a few minutes to answer a short survey to help RGAC serve you and the
local art community better. By completing the survey, you can also enter to win a workshop of
your choice, courtesy of RGAC!

The survey should take 10-20 minutes. Please complete by May 14th to show your support.

Use this hyperlink to start the survey: https://www.surveymonkey.com/s/RGACArtists

Thank you for your support!

68
Appendix E: Email Survey (Reminder)

Dear Artists,
The Rogue Gallery & Art Center (RGAC) is still seeking feedback for the Artist Satisfaction
Survey.
Please help out Southern Oregon University MBA graduate students complete their research
project in partnership with RGAC to help foster a stronger local artists community.
To show our appreciation, the survey offers a chance to enter a drawing for a workshop of your
choice, courtesy of RGAC!
We would like to thank everyone for their support for RGAC and its mission as well as SOU
MBA student learning experiences.
The survey closes on May 14th and should take 10-20 minutes to complete.
Use this hyperlink to start the survey: https://www.surveymonkey.com/s/RGACArtists

Thank you for your support!

69
Appendix F: Survey Screenshot

70

71

72

73

74
Appendix G: Survey Responses

Question 1:
Areyou_____?
AnswerOptions
Response
Percent
Response
Count
acurrentlyenrolledmember(membershavesubmitted
acurrentannualfeeinsupportofRGAC)
57.0% 73
apastenrolledmember 18.0% 23
notyetamember 25.0% 32
answeredquestion 128
skippedquestion 2

Question 2:
SeveralpossiblereasonsforattendingRGACarelistedbelow.Pleaseindicatehowimportantor
unimportanteachoneistoyou.
AnswerOptions
Extremely
Unimportant
Unimportant NeutralImportant
Extremely
Important
N/A
Rating
Average
Response
Count
Artisticdevelopment 2 6 12 52 47 1 4.14 120
Socializingandmeetingnew
people
2 12 39 60 7 0 3.48 120
Networking 4 8 27 62 16 0 3.67 117
Theopportunitytoexhibit 5 3 10 45 56 1 4.21 120
Viewingexhibitionsand
artwork
2 0 4 44 65 0 4.48 115
Purchasingartworkinthe
Boutique
8 19 46 36 7 0 3.13 116
Meetingandlearningfrom
exhibitingartists
3 4 6 71 32 1 4.08 117
Findinginspiration 4 4 17 45 48 0 4.09 118
Gettinginvolvedinthe
community
5 6 40 45 21 0 3.61 117
Supportingthearts 2 0 5 55 51 0 4.35 113
Other(pleasespecify) 4
skippedquestion 9

Question 3:
AreyouawarethatRGACisofferingthefollowingservicesandevents?
Haveyouheardaboutthis?

AnswerOptions
No,Ihave
notheard
about___
Ivebriefly
heardabout
__
Iknowall
about___
Response
Count

Exhibitions 3 35 68 106

ClassesandInteractiveWorkshops 4 36 62 102

AdultClasses 6 33 63 102

ArtistTeenMentoringProject 29 36 33 98

75
YouthClasses 12 52 32 96

MembershipBenefits 13 46 42 101
LecturesPresentationsbyexhibiting
artists,providinginformationand
interestinginsight.
21 48 35 104
BoutiqueAwideassortmentofworksby
localtalentthatareavailableforsaleat
RGAC.
3 29 72 104
ProfessionalDevelopmentTraining
Programstosupportartistsprofessional
success.
28 44 30 102

Currentexhibition:BestoftheBest 32 38 35 105
Upcomingexhibition:EugeneBennett,A
LifeinArt
15 43 44 102

Areyouinterested?
AnswerOptions
Thisdoes
notinterest
me
Iwould
considerit
Iwanttobe
there
NA
Response
Count
Exhibitions 5 48 43 3 99
ClassesandInteractiveWorkshops 18 57 16 3 94
AdultClasses 18 60 15 2 95
ArtistTeenMentoringProject 35 33 8 16 92
YouthClasses 41 27 3 25 96
MembershipBenefits 10 50 19 13 92
LecturesPresentationsbyexhibiting
artists,providinginformationand
interestinginsight.
7 55 29 4 95
BoutiqueAwideassortmentofworksby
localtalentthatareavailableforsaleat
RGAC.
17 49 26 5 97
ProfessionalDevelopmentTraining
Programstosupportartistsprofessional
success.
14 53 22 7 96
Currentexhibition:BestoftheBest 5 53 34 3 95
Upcomingexhibition:EugeneBennett,A
LifeinArt
8 37 46 3 94
Question
Totals
skippedquestion 20

Question 4:
WhatserviceshaveyouparticipatedinatRGACandwithwhatfrequency?
AnswerOptions Never
Not
within
the
last2
years
once
inthe
last2
years
1-3
times/year
4-6
times/year
7-9
times/year
10-12
times/year
12+
times/year
Response
Count
Visitinganexhibition 2 4 14 41 20 14 9 3 107
Showinginanexhibition 39 19 21 28 1 0 0 1 109
AttendingInteractive 55 23 12 15 1 0 0 0 106

76
Workshops
AttendingLectures 46 23 19 17 1 0 0 0 106
AttendingProfessional
DevelopmentTraining
71 16 8 7 2 0 0 0 104
ShoppingintheBoutique 25 13 26 28 8 3 1 1 105
skippedquestion 20

Question 5:
HowwelldotheservicesatRGACmeetyourexpectationsinthefollowingareas:
AnswerOptions
Doesnot
meetmy
expectations
Meetsmy
expectations
Exceedsmy
expectations
N/A
Rating
Average
Response
Count
Value 13 65 15 11 2.02 104
Scheduledtimesoffered 11 70 7 14 1.95 102
Pricing 7 78 6 13 1.99 104
Effectiveuseoftime 7 62 12 19 2.06 100
Medium(s)ofinterest 22 60 13 8 1.91 103
Studiouseandlayout 9 54 14 25 2.06 102
Staffinteractions 10 48 39 11 2.30 108
Communityinteractions 6 53 17 22 2.14 98
Ifyouveexpresseddissatisfactioninanyofthelistedareas,pleaseusethisspacetoexplain. 24
skippedquestion 22

Question 6:
HowdoestheatmosphereatRGACmakeyoufeel?
AnswerOptions
Response
Percent
Response
Count
Welcomed 79.0% 83
Comfortable 69.5% 73
Encouraged 44.8% 47
Inspired 54.3% 57
Liberated 17.1% 18
Passionate 22.9% 24
Connectedtotheartcommunity 50.5% 53
Unwelcome 7.6% 8
Uncomfortable 5.7% 6
Discouraged 7.6% 8
Uninspired 8.6% 9
Limited 17.1% 18
Bored 8.6% 9
Notconnectedtotheartcommunity 12.4% 13
skippedquestion 25

77
RateyourlevelofsatisfactionwithservicesatRGAC.
AnswerOptions
Extremely
satisfied
SatisfiedNeutralDissatisfied
Extremely
dissatisfied
N/A
Rating
Average
Response
Count
Visitinganexhibition 37 52 7 1 3 4 1.81 104
Exhibitingpersonalwork 15 28 22 5 4 29 2.39 103
Attendingworkshops 8 22 26 3 2 42 2.49 103
Attendinglectures 5 29 28 0 1 39 2.41 102
AttendingProfessional
DevelopmentTraining
4 15 23 3 1 54 2.61 100
ShoppingintheBoutique 13 46 21 3 1 17 2.20 101
DescribeanyimprovementstoservicescurrentlyofferedatRGACthatyouwouldliketosee. 13
skippedquestion 24

Question 7:
RGACstrivestobeastrongculturalresourceconnectedtothelocalartistcommunity.
Inadditiontocurrentlyofferedservices,pleasetellusifyouwouldbeinterestedinthe
followingexpansions.(checkallthatapply).
AnswerOptions
Response
Percent
Response
Count
Collaborationwithlocalcommunityorganizations 54.2% 52
SpecialeventstyingtootherRogueValleyattractions 60.4% 58
RelevantFilmsfeaturingartistsbeyondtheRogue
Valley
52.1% 50
Iamnotinterestedinadditionalservicesorevents 19.8% 19
answeredquestion 96
skippedquestion 34

Question 8:
DoyoufeelcurrentonRGACeventsandofferings?
Yes/No;

AnswerOptions Yes No
Response
Count

-- 80 15 95
AndIwouldlikeMore/Lessinformation
AnswerOptions More Less Same NA
Response
Count
-- 18 3 43 3 67
viapreferredmethodsofcontact
AnswerOptions Mail Email
Phone
Call
Text
Message
Facebook
Response
Count
-- 6 59 0 0 3 68
Question
Totals
ListOtherContactMethodsorComments 6

78
answeredquestion 98
skippedquestion 32

79
Appendix H: Open-Ended Questions

2. Several possible reasons for attending RGAC are listed below. Please indicate how
important or unimportant each one is to you. (4 Responses)
Compare what is going on in the region versus the metropolitan areas and international exhibits.
learning wooden book cover, sewn integral headband bookbinding
Supporting pre-emerging contemporary artists
teaching in the classroom
5. How well do the services at RGAC meet your expectations in the following areas:
If youve expressed dissatisfaction in any of the listed areas, please use this space to explain.
(24 Responses)
I am looking for a highly involved and socially evolved artistic offerings which are integrated
with community, or challenging community. I am looking for art beyond old school traditional
practices.
I would like to see the RG widen its medium focus. i.e. more interaction with
music,poetry,dance, etc, I find this disturbing. I feel that all the arts are homophobic and
egocentric - There is really no separation of the process of creation and structure. The perfect
gallery for me would be one that would be a place people would like to congregate for
conversation, coffee, music along with the visual arts.
I would love to do some of the classes and buy in the gifrshop, but I have to use all of my money
for school at RCC. Don't have much left for theses types of expenditures, so I try and teach
myself on the computer at home. I Do Appreciate your efforts though and hope in the future to
get more interaction.
In my opinion, RGAC is poorly run, and is unprofessional in its dealings with the public and its
artists. More often than not the quality of work shown and therefore approved of by the staff and
the organization as a whole is frankly lacking.
The gallery has inflexible hours. When exhibiting work at Rogue Gallery I have to travel from
out of town and meeting their schedule is difficult for several reasons. Usually they require
limiteds times for delivery and pick up, and when asked for flexibility, they are not supportive,
on the contrary, they talk as if they were making me a favor for exhibiting my work and this is
not the case. Also, when talking to the director, she has been opinionated on definitions of what
art is and contradicted my suggestions with authoritative tones to the point of me not wanting to
exhibit there anymore.
ylou guys are doing a great job,keep up the good work thanks Frank Rinna

80
Current emphasis appears to be on "cutting edge" 2-dimensional work, which seems to appeal
primarily to aspiring artists/students, and leaves a big void for those who like more
representational work, either as an artist or as a buyer. Crafts displayed/taught seem to be of
higher quality and more universal appeal than the painting styles selected for exhibit.
I have been very happy with the classes offered by the Rogue Gallery in the past. I am interested
in the classes for the current session, especially the Encaustic Class, The Book Class, and the
Basketry classes. In the past, I have taken encaustics, printmaking, painting, paper-making and a
class on how to sell your artwork. They were all great, except for the Selling one. However, I
was disappointed in the offering for last winter and spring, and disappointed that the encaustic
class for last summer was cancelled. I do think there needs to be more publicity for the classes,
and perhaps a better discription of the class for people who are unfamiliar with the medium. I
have my BFA in Studio Art. I do enjoy meeting other artists.
cost of classes and workshops too high
Would like to see more watercolor workshops
1. There aren't enough open, juried shows available to the artists of Jackson County. 2. The cost
of attending the dinner/auctions, even for those who donate their artwork, is way too expensive
and separates the artists from the community. 3. The cost of the workshops is too high for many
interested persons.
Over the past year or more the environment has changed. Administration door is always closed,
interactions are not welcoming. It seems cold rather than vibrant, despite several obvious
improvements to the physical space. I no longer feel drawn in. Classes have not really interested
me in this time either and most exhibits have been underwhelming. Many of my favorite artists
are no longer regulars.
I live in KLAMATH FALLS and had to drive 70 miles each way to bring work for the rental
sales gallery and for the ist juried show; I am a professional artist and had a photo and a painting
in this show as well as work in the rental sales gallery over a number of years. I have been a
member in the past with Judy as the director; I felt that she was very professional and helpful. I
have not gotten along with the current director, have not felt welcome and have had difficulty in
making the time limit to bring work and take work from the gallery although I lately had driven
over the pass at least 6 times-- sometimes during adverse weather conditions. Eventually, I felt
that I was not being treated either with respect or in a compassionate way by the director and
requested to be withdrawn from the membership.
I was disappointed that the member's show was a more limited scope than last year - I don't paint
food related items, so there really wasn't an opportunity for me to show my work this past year
and I am already a very active member at the Ashland Art Center - there was another show as
well - or open studio tour, but it said it was for Medford artists and I live in Ashland. This is why
I dropped my membership. I have access to more of the things I am wanting from an art center in
Ashland, since the showing opportunities seemed limited at RGAC

81
Only interested in bookbinding, particularly variants of integral sewn headbands
would like to see more interactive art & installation art
Have a Director who is an editor when what is needed is an artist/public relations type of person.
I felt very enequaly recived and pre-judged by Boss XXXXXXX And offended, and not
because the 3pieces that I scrounged up my last 35$ for weren't picked.. But more what was
picked to represent "contemporary art, artists and art tecniques" please don't undervalue the
weight of important and fragile artists and the idea that as an art gallery you are conveying
authoritarily that you know art! Ecpecially when printing the deffinition of "contemporary art on
the back. I was exited about your gallery until I was turned off by seeing what I don't consider
exiting contemporary stuff from artists who arent seriouse about the art and all that it means, and
just feeling how many other artists on this side are getting swept into the refuse...the salon de
refuse.
I did not feel the class I took this spring utilized time wisely. We were out an hour early each day
though the instructor said there really was not enough time to cover the subject.
I always seem to come by when the gallery's not open
Too enmeshed in the usual. Would like a show on utilizing 'junk' to make art.
I live in Klamath Falls, travel frequently to Eugene, really can't schedule with many events or
services.
I was a volunteer for several years and rarely was thanked or felt appreciated. When I have
offered suggestions or had ideas I have been ignored. The staff was never particularly
welcoming. When I asked for more responsibilities or to do something new - like work with a
committee or be on a board committee, I was never contacted. I tried this three times - leaving
my name and phone # with a board member. I feel like I had a lot to offer and was willing to
work. I have a BA in Community Services and have worked with non-profits my whole career. I
currently have a successful marketing business. I have worked as a volunteer coordinator in
previous jobs, so I know how I should have been treated. I have given up and rarely go to the
Gallery anymore.
I would like to see more advanced,high level artist workshops with teachers who are at the top of
their game in my area of interest: Classical Realist Oil Painting and Drawing. Mostly what I've
seen is local artists who seem to be teaching for beginning and intermediate artists.

5. How well do the services at RGAC meet your expectations in the following area: value,
scheduled times offered; pricing; effective use of time; medium(s) of interest; studio use
and layout; staff interactions; community interactions. (24 Responses)

82
All the hard work that the folks who are responsible for the running of RGAC is highly
appreciated.
Is as if they are struggling and they show it and want the community to know how much they are
struggling.
Grateful
It has been a while since I've attended much due to conflict w/ my work schedule. I wish I could
attend more
The instruction areas are quite limited
As I said, I live in Ashland and spend alot of time there at the art center where I have studio
space - it is a better place to mingle as artists are always there on-site.
When viewing high quality artworks, I become inspired and enthused with ideas.
functional space with needed supplies and teacher
medford just isnt happening in the art world yet
I am aware of the facilities only as described in the exhibitions listings
Some of the volunteers seem vacant and uninformed about the works both in the gallery and the
Boutique. As an artist bringing in new work a volunteer was not interested in connecting me to
the works and seemed scattered about EVERYthing in both Boutique and gallery
have not been there
Too limited to usual art
"Liberated" and "Passionate" are really a bit much.
I feel a haughtiness, as if I didn't meet their criteria as a person. Yes, I submitted work, and it
was not accepted. What caused the issue was a class my granddaughter attended. It was not as
expected. I was refunded the money, which was good, but I was not allowed a refund on my
membership, even though my granddaughter only enjoyed one class, and was extremely
disappointed with the second one. I didn't feel connected, and didn't want to participate any
longer. I was offered a chance to present my work, and my granddaughter's work, which was not
accepted. I understand why, but why didn't anyone listen when I said I would recieve no benefit
from continuing my membership. It is almost like the staff is saying, "You and your work are
NOT GOOD ENOUGH, BUT WE WILL TAKE YOUR MONEY!" My money is hard to come
by. This was a special gift for my granddaughter. It was not a happy time, nor a happy outcome.
So I will say, enjoy my $, and we won't presume to bother you again, with our faults and flaws.

83
7. Rate your level of satisfaction with services at RGAC. (13 Responses)
I would appreciate more information in real time and thanks again!!!
I would like the gallery to try and develop shows and exhibits with real merit artistically. I would
also like to see an improvement in the staff, people should be brought in to curate the shows and
oversee the organization who have professional experience in the field, and a background
education. They should institute a code of conduct, and draw up a relevant mission statement.
My limitations are self imposed due to health problems.
more of a balance of realistic art with non-objective and abstract art,
I really appreciated the changes in Boutique last I seen gallery a couple of years ago Good
merchandizing techniques were being employed.
Already addressed these issues.
the jewelry needs to be priced so that the prices show.
Grants Pass off site location classes
Show "important" art to art history and open this dialogue about appeal in sale and appeal in
importance and message and what/where either choice(path) will take us as individuals in a
society.
I periodically apply to exhibit, but have not been invited to date, so my exposure to the facilities
is limited to the advertisements in the media
I think instructors should have an outline/lesson plan to be submitted before a class is approved.
Two of the classes I've had have been 'seat of the pants' experiences - little planning or
preparation and no handouts.
Better training for volunteers. I KNOW that you use what you can get and everytime I have been
in a situation where I was "helped" by a certain volunteer there was always a more knowlegible
member or staff member available.
I wonder if Eugene Bennett's cards will become available. Many years ago I was more involved
with classes etc...The gallery was always a must when down town. You get to be 82 and your life
changes :)
8. RGAC strives to be a strong cultural resource connected to the local artist community. In
addition to currently offered services, please tell us if you would be interested in the following
expansions. (check all that apply).
Evening classes ( I know that might be difficult for budget )

84
i would like to see more call to artists, group shows with unusual themes, shows benefiting a
target community group, [for example, dunn house, or the animal shelter, or access, that would
possibly get the general public interested in attending], fun art competitions that get the
community as well as artists excited, and shows featuring small affordable artworks by a variety
of artists that would enable the average person to start collecting his or her favorite artist's work.
I live in Yoncalla, some 130 miles to the north, so I don't get down to Medford very often,
limiting my exposure and interaction with the RGAC.
Because I live in Cave Junction, I very rarely get to Medford.
More w Ashland and it's art community, mabye a second location in Ashland
As an artist, activist, community and community outreach is important to me on any level
RGAC sponsored paintout or quickdraw in the Medford downtown
I'm currently rather housebound so don't take this as a standard reply
I'd like to explore the possibilities of exhibiting there as a professional portrait artist.
I AM MOSTLY INTERESTED IN EXHIBITIONS THAT ARE EXTRAORDINARY
The Rogue Gallery does an incredible job with all that it takes on. I'm only "not interested" due
to my overflowing busy life.
9. Do you feel current on RGAC events and offerings? (Responses 6)
Again, health issues limit my participation.
Facebook is also good
mail material is better communication for me
email, word of mouth, skywriting
I like the amount of info I get from RGAC, I get info via email, facebook, and the printed
calendar and cards that are mailed out. I feel like you do a good job reaching me - although
exhibits that aren't featured seem to slip past me, like the Teen exhibits. It could be you send
them and I don't notice though.
Fabulous auto-emails that I receive really keep me in the loop.

85

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Brice Heath, S., & Roach, A. (1999). Imaginative Actuality: Learning in the Arts During the
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Humanities.
Caterall, J. S., & Iwanago, J. (1999). Involvement in the Arts and Human Development: General
Involvement and Intensive Involvement in Music and Theater Arts. Washington, D.C. :
President's Committee on the Arts and the Humanities, Arts Education Partnership .
Craig, S. (2004, March ). Considering Art Leasing. Art Business News, 31(3), 106-107.
Dobrzynski, D. (2011, January 20). Risks Work for Artists, But Not for Galleries. Wall Street
Journal- Eastern Edition, 257(15), D6. Retrieved April 23, 2012, from Hannon Library
Business Source Premier. (AAM)
Dobrzynski, J. H. (2010, August 24). No More 'Cathedrals of Culture'. Wall Street Journal-
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Doering, Z. D. (1995). Who Attends Our Cultural Institutions? . Washington, D.C. : Institutional
Studies, Smithsonian Institution.

Gallagher, B., Daiki, I. D., & Suzuki, K. (2011). Rogue Gallery & Art Center Survey 2011.
Ashland : Southern Oregon University, School of Business.
Hart, J. (2010, February). Gallery Exhibit Themes: Tap into Creativity. Art Business News,
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Hodgson, K. (2011). Community Character: How arts and cultural strategies create, reinforce,
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Kotler, N. (1999, May). Delivering Experience: Marketing the Museum's Full Range of Assets.
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Mallonee, L. D. (2010). Capturing Community Value: The Role of Local Arts Organization in
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Quinn, K. (2003). Arts as an Economic Engine for Downtown Revitalization: Three Case
Studies. Rural Research Report , 15(4).

Ramelli, J., & Babbitt, C. (2011). Rogue Gallery & Art Center Business Research. Ashland :
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37(2), 46-47. Retrieved April 23, 2012, from Hannon Library Business Source Premier.
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RGAC A Portrait of The Artist Experience

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

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