inside semc - Southeastern Museums Conference

Transcription

ins i de s e mc
The Newsletter of the
Southeastern Museums Conference
spring 2014 | www.semcdirect.net
SEMC’s Jekyll Island Management Institute’s (JIMI) 2014 Class.
Executive Director’s Notes Susan Perry 4
early registration opens may 1 for the
semc annual meeting in Knoxville, tennessee 5
6
the jimi class of 2014
Eighteen Museum Professionals Graduate from SEMC’s JIMI 10
museums advocacy day Museum Advocates from
All Fifty States Visited Congressional Offices on February 25 17
semc annual meeting: appalachian renaissance:
renewing traditions, rethinking approaches CURATOR’S CORNER Curatorial Methods for Controversial
Exhibits, Nicole Neville Suarez, Curator, Airborne and Special Operations Museum a special thanks:
SEMC Endowment & Membership semc
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Inside SEMC is published four times a year
Robin Seage Person Secretary
by the Southeastern Museums Conference.
601.442.2901 | [email protected]
ArkansasSouth Carolina
Annual subscription is included in
Historic Jefferson College, Washington, MS
FloridaTennessee
membership dues.
Alabama
North Carolina
GeorgiaVirginia
Kentucky
West Virginia
Patrick Daily Treasurer
Newsletter Editor: Susan Perry, Semc
LouisianaU.S. Virgin Islands
Design: Nathan W. Moehlmann,
Hickory Landmarks Society, Hickory, NC
MississippiPuerto Rico
Goosepen Studio & Press
George Bassi Past President
staff
officers
Executive Director Susan S. Perry
Mike Hudson President
Lauren Rogers Museum of Art,
Laurel, MS
contact semc
Museum of the American Printing
SEMC | P.O. Box 550746
House of the Blind, Louisville, KY
directors
Priscilla Cooper
Atlanta, GA 30355-3246
T: 404.814.2048
David Butler Vice President
F: 404.814.2031
Birmingham Civil Rights Institute,
W: www.SEMCdirect.net
Knoxville Museum of Art, Knoxville, TN
Birmingham, AL
E: [email protected]
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34 congratulations 36
construction 41 innovations 45 people and places 46 what’s happening 57
important dates 58 semc NEw job forum 58
semc membership form 59
acquisitions Julie Harris
Jenny Lamb
Allison Reid 270.575.9958
616.356.0501
[email protected]
[email protected]
New Orleans Museum of Art,
River Discovery Center, Paducah, KY
Belle Meade Plantation, Nashville, TN
New Orleans, LA
Brian Hicks
Kathryn A. Lang Deitrah Taylor 662.429.8852 | [email protected]
504.589.3882 x114 | [email protected]
478.320.4010
Desoto County Museum, Hernando, MS
Jean Lafitte National Historical Park
[email protected]
and Preserve, New Orleans, LA
Perry, GA
Darcie MacMahon Heather Marie Wells
Reynolda House Museum of American Art,
479.418.5700
Winston-Salem, NC
Florida Museum of Natural History,
[email protected]
Gainesville, FL
Crystal Bridges Museum of American Art,
Kathleen Hutton Mary Lague Bentonville, AR
540.342.5760
James Quint [email protected]
803.252.1170 x36
The deadline for the Summer 2014
Taubman Museum of Art, Roanoke, VA
[email protected]
newsletter is May 16, 2014. To submit
Historic Columbia Foundation,
information for the newsletter, please
Columbia, SC
contact the Council Director in your state.
–3–
executive
director’s
notes
Susan Perry
H
ow do SEMC museums
and cultural institutions
reinvent themselves
to serve the changing
needs of our communities? In
recent member survey, someone
encouraged us to “keep working to
reinvent SEMC in a fast changing
world.” In 2014 program proposals,
I have witnessed the reinvention of
museums from social media tagging
to new audience engagement to
an open access movement. How
can SEMC renew you as museum
professionals to serve the needs of
our rapid changing world?
The 14th Annual Jekyll Island
Management Institute (JIMI)
was the perfect example of the
reinvention of new museum
leaders. Museum professionals
provided subject area expertise
and practical approaches to
administrative challenges from their
own experiences. After fourteen
years, 229 JIMI graduates from 26
states plus the District of Columbia
are a growing community and
network of museum professionals.
In Washington, D.C., I had
another opportunity to witness
the renewal of the museum
community in action at AAM’s
Museums Advocacy Day and the
Council of Regional Associations.
In a critical year for federal and
state funding, the Southeast had
sixty-eight museum professionals,
including two JIMI graduates and
fifteen students, to speak with our
elected officials about the economic
impact and educational value of
museums in our local communities,
states, and the nation.
The American Alliance of
Museums (AAM) selected the
first two Great American Museum
Advocates from nominations
submitted by museums of all types
and sizes, all across the country.
The winners were Simone Batiste,
a 16-year old from Oakland,
CA, nominated by the Chabot
Space & Science Center, and
Spencer Hahn, an 8-year old from
Indianapolis nominated by The
Children’s Museum of Indianapolis.
At the Congressional Reception
on February 25, everyone shared
Spencer’s tears of joy when he
embraced Rex from his museum on
a surprise visit to Capitol Hill. Next
year experience the joy of speaking
up at Museums Advocacy Day!
SEMC has teamed up with AAM
and five other regional associations
to conduct a national salary survey.
Please participate in this national
salary survey in April. This study will
help us understand how museums
and employees are valued in
different communities across the
nation.
–4–
Susan Perry, SEMC Executive Director
SEMC Council and Program
Committee met recently at the
Holiday Inn World’s Fair Park
downtown Knoxville, TN, to make
plans for our Annual Conference
October 20–22, 2014. SEMC
2014 Annual Conference is an
opportunity to reinvent yourself
as a mid-career professional,
rethink babies to teens in
museums, and renew relationships
within our museum community.
We invite you to experience the
Appalachian Renaissance:
Renewing Traditions, Rethinking
Approaches in Knoxville!
This year my goal is to “reinvent
SEMC in a fast changing world”
by growing a diverse SEMC membership, improving our communication, and providing more educational
opportunities as membership benefits. Encourage your institution and
colleagues to join SEMC.
— Susan Perry, SEMC Executive Director
OCTOBER 20-22, 2014 a KNOXVILLE, TENN.
***************************************************************************************************************************
WWW.SEMCDIRECT.NET EARLY REGISTRATION OPENS MAY 1
VisitKnoxville.com
–5–
Appalachian Renaissance:
Renewing traditions,
Rethinking Approaches
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SEMC 2014 annual meeting register may 1!
october 20–22, 2014 | Knoxville, tennessee
Experience an intoxicating mix of authentic Appalachian culture, a wealth of
historic properties, rich Civil War heritage, and edgy new art in a bustling urban
setting with easy access to the great outdoors — all at the SEMC 2014 Annual
Meeting in Knoxville! ¶ Nestled in the foothills of the Smokies,
Knoxville’s lively and historic downtown is dense with great restaurants, shopping,
and entertainment. SEMC evening events will center around Gay Street, one of
America’s great main streets and the home of the East Tennessee History Center
and the historic Tennessee Theatre, and World’s Fair Park, site of the 1982
exposition and its iconic Sunsphere and the Knoxville Museum of Art. ¶ SEMC
is known for great off-site tours, and 2014 will be no exception. Explore the vast
collections of the University of Tennessee’s McClung Museum of Natural
History and Culture, 18th- and 19th-century historic house museums, and
institutions and sites dedicated to African-American heritage. Walk quiet
residential streets in search of traces of a bloody Civil War battle. Discover longabandoned marble quarries and learn about Knoxville’s history as “The Marble City.”
Experience the natural delights of the rugged urban wilderness within walking
distance of downtown, and the cutting edge technology of nearby Oak Ridge. ¶
We promise you’ll be energized, enlightened, and entertained. There might
even be a drop of moonshine if you’re lucky. You’ll never want to leave! ¶ Join us to
discover Appalachian Renaissance: Renewing Traditions,
Rethinking Approaches at the SEMC 2014 Annual Meeting
October 20–22 in Knoxville!
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Participants in the SEMC
2014 Annual Meeting will experience
• Over 60 sessions and workshops on engaging young audiences from babies to middle school students,
exploring new technology, tagging #SEMCsocial, breaking barriers in historic homes, engaging trustees
as advocates, preserving film and audio, restoring historic windows, training young volunteers, creating
exhibition graphics, building community partnerships, interpreting African American history, fundraising
strategies, emerging museum professionals, and surviving a mid-career crisis.
• Space for over 62 exhibitors in the Resource Expo.
• Evening events at Knoxville Museum of Art, The Sunsphere, Historic Westwood, East Tennessee History
Center, and the historic Tennessee Theatre.
• Private walking tours of Knoxville’s historic areas and immersion in its compelling history.
• K
eynote speaker Michael Edson, Director, Web and New Media Strategy, Smithsonian Institution.
• Off-site tours of the McClung’s archaeology and malacology labs, 18th century historic homes,
“The Marble City,” “Learning Expeditions,” and urban landscape.
• A Silent Auction to raise funds for scholarships to SEMC’s 2015 Annual Meeting.
• Extensive networking with your southeastern museum colleagues.
The theme of this year’s annual meeting is “Appalachian Renaissance: Renewing Traditions, Rethinking
Approaches.” Experience Appalachian traditions in Knoxville and renew your vision for the future of museums.
Discover new horizons in museum technologies, interpretation, evaluation, and collections. Get energized with
innovative creativity and connect with our communities. Build new partnerships, integrate STEM curriculum,
engage new audiences, and transform fundraising into philanthropy. SEMC’s Program Committee invites you to
meet us in Knoxville to share creative ideas and success stories, explore new directions and emerging trends in
museums, and network with the most congenial and supportive group of museum professionals in the nation.
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holiday inn world's fair park
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location : Holiday Inn World’s Fair Park, 525 Henley Street, Knoxville, TN
37902. Call toll free 1.800.264.1579 or 1.865.522.2800 for group reservations.
Mention the Southeastern Museums Conference
and request Group Code: SMC.
room rates : $135/Single & Double Room + 17.25% applicable taxes
room block cutoff date : Sunday, September 28, 2014
Register may 1 online at
www.SEMCdirect.net
for early discounts:
Super Early Bird (5/1 – 7/2) $250
Early Bird (7/3 – 7/31) . . . . $275
VisitKnoxville.com
Regular (8/1 – 9/30). . . . . . . $300
Late (10/1 – 10/12). . . . . . . . . $325
Onsite (10/20 – 10/22) . . . . $375
TAM (5/1 – 10/12) . . . . . . . . . $250
Student (5/1 – 10/12). . . . . . $125; single day $75; late $200; onsite $225
Single Day for Knoxville
Volunteers, Trustees
& Students . . . . . . . . . . . . . . . . regular $75; onsite $100
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a
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jimi 2014
Congratulations to the JIMI Class of 2014, consisting of participants from Alabama, Florida (2), Georgia (2), Indiana, Kentucky, Mississippi,
North Carolina (4), South Carolina (2), Tennessee, Texas, and Virginia, plus
the District of Columbia.
This year marks the first of a three-year partnership with the National
Museum of African American History and Culture (NMAAHC), the
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first row, l-r: Sarah Tignor, Collection Manager & Registrar, The Johnson Collection, Spartanburg, SC; Hannah L. Davis, Gallery
Manager, Jones-Carter Gallery, Lake City, SC; Elizabeth Chambers, Director of Exhibitions and Collections Management, George
Washington’s Mount Vernon , Mount Vernon, VA; Lisa Chastain, Curator of Collections, Museum Center at 5ive Points, Cleveland, TN;
Angel Rohnke, Assistant Director, Mississippi Museum of Natural Science, Jackson, MS; Will Guzmán, Associate Director, Meek-Eaton
Black Archives Research Center & Museum , Florida Agricultural & Mechanical University, Tallahassee, FL; Dayna L. Caldwell, Director
& Curator, Mildred Huie Museum, St. Simons Island, GA; Jay Heuman, Public Programs Coordinator, Museum of Fine Arts Houston,
Houston, TX. second row, l-r: Shaina Strom, Director, Mildred Westervelt Warner Transportation Museum, Tuscaloosa, AL;
Ju’Coby Pittman, CEO/President, Clara White Mission, Inc., Eartha M. M. White Museum , Jacksonville, FL; Michelle Zupan, Curator,
Hickory Hill & the Tom Watson Birthplace, Thomson, GA; Sarah Aubrey, Curator of American Art, Fort Wayne Museum of Art, Fort
Wayne, IN. last row, l-r: Mark Farnsworth, Site Manager, Historic Bethania, Bethania, NC; Lindsey A. Lambert, Executive
Director, North Carolina Pottery Center, Seagrove, NC; Lynne M. Grant, Director of Guest Services, Heaven Hill Distilleries, Bardstown
KY; Julie Kowalsky, Curator, Naval History and Heritage Command, Washington, DC; Dale Pennington, Executive Director, Korner’s
Folly Foundation, Kernersville, NC; Michael Ausbon, Associate Curator, Decorative Arts, North Carolina Museum of History, Raleigh, NC.
Smithsonian Institution’s 19th museum, the Association
of African American Museums (AAAM), and SEMC to
sponsor two scholarships and travel stipends for AAAM
members. The John Kinard Scholarship Fund is in collaboration with the Smithsonian’s National Museum of
African American History and Culture (NMAAHC).
Created by an act of Congress in 2003, the Museum is
scheduled to open on the National Mall in Washington,
D.C. in 2015. For information on the Museum’s current
programs and exhibitions visit www.nmaahc.si.edu or
– 11 –
Dale Pennington shares her experiences during George Bassi’s
session on working with boards and trustees.
Ju’CobyPittman makes a short presentation
during George Bassi’s session.
call 202.633.4751. The first two John Kinard scholarship
awardees were Will Guzmán, Associate Director of the
Meek-Eaton Black Archives Research Center & Museum,
Florida Agricultural & Mechanical University in
Tallahassee, FL, and Ju’Coby Pittman, CEO/President of
the Clara White Mission, Inc., Eartha M. M. White
Museum in Jacksonville, FL.
Center, Seagrove, NC. John and Cynthia Lancaster
provided a full scholarship to Lisa Chastain, Museum
Center at 5ive Points, Cleveland, TN. Satilla Computer
Solutions, St. Marys, GA provided $350 as a breakfast
sponsorship.
Scholarships and/or travel stipends were provided
by two state associations, including the Mississippi
Museums Association (Angel Rohnke, Mississippi
Museum of Natural Science, Jackson) and the North
Carolina Museums Council (Michael Ausbon, North
Carolina Museum of History). The Peter S. LaPaglia JIMI
Scholarship was awarded to Mark Farnsworth, Historic
Bethania, Bethania, NC.
Gaylord Brothers provided one scholarship which was
awarded to Sarah Aubrey, Fort Wayne Museum of Art,
Fort Wayne, IN. Goosepen Studio & Press provided a
scholarship for Lindsey Lambert, North Carolina Pottery
Three JIMI alumni attended the awards banquet in support of the new graduates — Timothy England (JIMI
Class of 2013), Keith Post, Executive Director, St. Marys
Submarine Museum, St. Marys, GA and CEO of Satilla
Computer Solutions (JIMI Class of 2013), and Ellen
Strojan (JIMI Class of 2011).
Because of changes within the Jekyll Island Authority, the
classroom was moved from Villa Ospo to the renovated
Single Servants’ Quarters behind the Jekyll Island Club
Hotel. Other JIMI “firsts” included the first Texas graduate — Jay Heuman who may also be the first Canadian
native. JIMI is getting a more international flavor. Last
year’s class included a native of England, and this year’s
class included a native of Scotland and a native of Wales.
– 12 –
Dayna Caldwell posts first real-time tweets about JIMI.
Sharon Bennett (right) instructs class about disaster preparedness.
This class also enjoyed the first-ever bourbon tasting at the class presentations on Tuesday night. Dayna
Caldwell was the first to tweet in real time about her
JIMI experiences to the SEMC tweeters.
Keith Post is the first JIMI alumnus to be a sponsor.
Nathan Moehlmann is a JIMI alumnus who sponsored a
scholarship. And last, but certainly not least, we have a
new term for JIMI participants: JIMI-kins!
JIMI LaPaglia Scholarship
Winner Reponse
“Welcome to Jekyll Island!” Driving down the road toward Jekyll Island, one encounters a fully automated
toll booth with this cheerful recorded greeting welcoming you to the site. Jekyll Island is a barrier island on
Georgia’s coast — midway between Jacksonville, FL, and
Savannah, GA. The island has become renowned for the
preservation of its natural and historic resources with development limited to just 35 percent of its available land
area. This unique aspect of Jekyll Island serves to preserve the critical barrier island ecosystem, and provide
guests with a unique escape from the crowds and complications of other beach resort destinations. Slowing
down to pay my toll begins my experience on the island.
What motivated me to drive eight hours to visit Jekyll
Island during January? It is the location for one SEMC’s
signature events the Jekyll Island Management Institute
or JIMI. I’m a member of the 2014 JIMI Class.
JIMI is a museum management training program. The
institute provides an unparalleled hands-on experience
via an eight-day immersion for museum professionals
seeking the opportunity to understand what it means to
manage a museum. The Jekyll Island Museum serves as
host for this Southeastern Museums Conference program, providing meeting space in one of its historic buildings. The Institute combines days of classroom studies
with free time to engage fellow classmates and faculty.
The faculty consists of leaders within the museum community who are willing to share their experiences and
knowledge. Each fall, a committee reviews applications
– 13 –
Exercise during Robert Hopkins’ session,
“Exhibits on a Shoestring Budget.”
Jamie Credle’s interactive project on interpretation.
and strives to select participants from a variety of museum experiences. A class is assembled representing a
diversity of museum formats, regions, and sizes. JIMI
offers rigorous academics, an encouraging environment,
and opportunities to discuss problems facing all of us.
Topics include museum administration, fundraising,
marketing, creating exhibits, public relations, disaster
preparedness, volunteer management, and much more.
Sessions occupy the majority of your day with time for
breaks and lunch. JIMI endeavors to spark conversation
and reflection about what it means to work in and manage a museum today.
new people and share experiences, discover there’s more
to know even if you think you knew it all, recognize areas
of opportunity that your museum could be taking advantage of instead of being content with stagnation, and
get inspiration from success stories shared by speakers
and others you meet. Because it’s fun! Jekyll Island offers
more than a get away from your normal work environment for a few days.
Why should one attend JIMI? Students come to JIMI
from a wide range of backgrounds. Participants not only
expand their knowledge, but one is surrounded with likeminded people who understand you. JIMI is designed to
give you tons of usable content on a variety of topics and
get you introduced to several experts in a short amount
of time. Session leaders will always give you tons of content you can use as well as a way for you to get even
more. A few more reasons why you should attend: meet
Scholarships are available. Yes, JIMI offers a variety of
scholarship options for attendees. I received SEMC’s
LaPaglia Scholarship for 2014. An award named in memory of Peter LaPaglia who enjoyed a thirty-five year career in the museum and public history fields. The SEMC
Council and other supporters believe strongly in the
value of continuing education for museum personnel by
making funds available each year for JIMI Scholarships.
Museums tell stories. Can you tell your institution’s story
without being at the top of your game. To get to or remain at the top of your game, you should allow time for
creativity by getting away from your daily routine and
– 14 –
working “on” your museum profession instead of “in”
your museum. I can only imagine the possibilities if I
could implement even 10% of what I learned at the Jekyll
Island Management Institute. JIMI restored confidence
in myself that I’m in the right industry and that my perseverance to succeed is worthwhile. English philosopher,
John Donne penned the line “No man is an island” my
recent experiences cause me to rework that line into “No
museum is an island, entirely by itself.” After attending JIMI, I realized that the challenges and opportunities facing my small historic site are shared by everyone
working in the museum field. I would encourage everyone
working on a career in the museum field to start planning
on attending a Jekyll Island Management Institute in the
future. You can be driving down the causeway slowing
down for that automatic toll booth greeting you with,
“Welcome to Jekyll Island!” And, yes, the new toll system accepts major credit cards.
— Mark Farnsworth
Director of Historic Bethania
LaPaglia Scholarship Recipient
Down Bohicket Road
An Artist’s Journey
Mary Whyte
With Excerpts from Alfreda’s World
Foreword by Angela D. Mack
152 pp., 80 color and 10 b&w illus.
hardcover, $49.95; paperback, $29.95
More Than a Likeness
The Enduring Art of Mary Whyte
Martha R. Severens
264 pp., 200 color illus.
hardcover, $75.00
Controversy and Hope
Romantic Spirits
Nineteenth Century Paintings of the
South from the Johnson Collection
Estill Curtis Pennington
168 pp., 45 color and 29 b&w illus.
hardcover, $34.95
The Civil Rights Photographs
of James Karales
Julian Cox
With Rebekah Jacob and
Monica Karales
Foreword by Andrew Young
176 pp., 121 illus.
Palmetto Profiles
The South Carolina Encyclopedia
Guide to the South Carolina Hall
of Fame
Edited by W. Eric Emerson
Foreword by Walter Edgar
224 pp., 90 b&w illus.
State of the Heart
South Carolina Writers on the
Places They Love
Edited by Aïda Rogers
Foreword by Pat Conroy
224 pp., 50 illus.
Seeking the
Historical Cook
Exploring Eighteenth-century
Southern Foodways
Kay K. Moss
288 pp., 38 illus.
USC Press is pleased to offer conference discounts.
Visit us in the exhibit hall.
800-768-2500 • www.uscpress.com
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Studioammons has just completed the restoration of the historic r. r. Moton high
School, the National historic Landmark site of the 1951 student strike for equal
educational facilities led by 15 year old barbara Johns in Farmville, Virginia. the
ensuing court case became the only one of the five brown v. board cases where
all of the plaintiffs were students. Studioammons worked closely with the Museum
staff and community to design, fabricate and install the museum’s permanent exhibit
“the Moton school story: Children of Courage,” transforming the historic school
into the robert russa Moton Museum, a center for the study of civil rights in education.
RobeRt Russa Moton MuseuM
Interpretive Planning
historic preservation
exhibit design
architecture
wayfinding
graphics
maps
web
2 3 5 N o rt h M a r k e t S t r e e t, P e t e r S b u r g, Va 2 3 8 0 3 | 8 0 4 . 7 2 2 . 1 6 6 7 | w w w. S t u d i o a M M o N S. c o M
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Southeast advocates prepare for Museums Advocacy Day.
O
museums
advocacy day
n February 25, 314 museum advocates
representing for the first time all 50 states
(plus D.C.) prepared and visited 335
Congressional offices to make the case
that museums are essential and therefore worthy of government support. The Southeast had
68 participants in Museums Advocacy Day, who made
official visits to members of Congress from the following
states: Alabama (1), Arkansas (3), Florida (3), Georgia
(4), Kentucky (3), Louisiana (1), North Carolina (21 including UNC-Greensboro students), Tennessee (4),
South Carolina (6 including USC students), Virginia (21),
and West Virginia (2). Two JIMI graduates, Merritt Giles
and Shaina Strom, participated in Museums Advocacy
Day. Graduate students from University of North
Carolina, Greensboro, and University of South Carolina,
Columbia, also joined us for Museums Advocacy Day.
The American Alliance of Museums (AAM) selected the
first two Great American Museum Advocates from
nominations submitted by museums of all types and
sizes, all across the country. Chosen for their devotion
– 17 –
SEMC Director Susan Perry strategizes with Shaina Strom of the M. W. W. Transportation Museum in Tuscaloosa, AL.
to their local museum and the ways in which their relationship with these institutions has affected their lives,
the winners were both honorees and participated in
Museums Advocacy Day in Washington, D.C.
The winners are Simone Batiste, a 16-year old from
Oakland, CA, nominated by the Chabot Space &
Science Center, and Spencer Hahn, an 8-year old from
Indianapolis nominated by The Children’s Museum of
Indianapolis. As noted by AAM, “Spencer especially
loves the conclusion of each (museum) visit, when he
often joins Rex in leading the museum’s daily End of the
Day parade. In fact, he has done so 100 times, an occasion celebrated by the museum staff and one which
has drawn tears of joy (‘My museum loves me,’ he cried)
from a young man who can teach all of us much about
the sheer joy of living.” At the Congressional reception,
everyone shared Spencer’s joy when he embraced Rex
on a surprise visit to Capitol Hill. Here are some ways you
can join the cause today:
• Send letters to your U.S. Senators and to your U.S.
Representative in support of funding for the IMLS
Office of Museum Services.
• Contact Congress in support of funding for NEA
and NEH.
• Ask Congress to support charitable giving incentives.
• Tell Congress about your museum’s economic impact.
• Share your museum’s educational impact with Congress.
• Find out where your members of Congress stand on the
issues in our 2013 Legislative Record.
Continue this good work on your local and state level
(use AAM’s Advocate from Anywhere guide to get
started) and plan to join us for Museums Advocacy Day
February 23–24, 2015 on Capitol Hill!
– 18 –
curator’s
corner
Curatorial Methods for
Controversial Exhibits
Nicole M. Neville Suarez, Curator,
Airborne and Special Operations Museum
T his paper discusses curatorial functions and
techniques used during two controversial temporary exhibits developed at the Airborne and
Special Operations Museum in Fayetteville,
North Carolina: The Animal Called POW: U.S.
Special Forces Prisoners of the Vietcong (February 2012
to January 2013) and Task Force Ranger and the Battle of
Mogadishu (October 2013 to November 2015). Curatorial practices include adding to the scholarship in a particular field, methods for sharing new voices, curatorial
collaboration with graphic artists during the exhibit process, techniques for tackling controversial subjects, the
benefits of collaborating with stakeholders, and making
exhibits relevant to the public.
The Animal Called POW: U.S. Special
Forces Prisoners of the Vietcong
The exhibit The Animal Called POW: U.S. Special Forces
Prisoners of the Vietcong focused on U.S. Army Special
Forces Prisoners of War (POWs) held in the jungle prisons of South Vietnam during the Vietnam War. As a result of the controversy surrounding this war, many POWs
felt isolated when they returned home and did not share
Poor resolution North Vietnamese propaganda image of
Raymond Schrump at the time of his capture.
their stories. The exhibit itself also included controversial
content, such as comparing prisoners of war to animals
and featured a diorama of a man in a bamboo tiger cage.
There were few resources focused on POWs held in
South Vietnam. The bulk of this information dealt with
the prison camps in North Vietnam such as the famous
Hanoi Hilton that held Senator John McCain captive.
The temporary POW camps of South Vietnam were
not documented. In addition, there were few images
of POWs in South Vietnam and those available were of
poor quality.
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Constructing the POW story in South Vietnam required
heavy research. Available sources included biographies
(some out of print), magazine articles mainly from the
1970s, and interviews with prisoners of war. After examining these sources, museum staff looked at the common themes in the prisoner of war experience in South
Vietnam such as mental torture, physical torture, and
starvation.
powerful. The POW experiences were divided into
themed boards such as mental torture, physical torture,
isolation, and starvation. POW quotes relating to these
topics were sorted according to theme and placed on
the boards. Visitors were engaged and read every single
board. The exhibit’s title The Animal Called POW came
from an article written by POW Daniel Pitzer who stated:
POW experiences in South Vietnam were horrific and
one out of three prisoners held in South Vietnam died
during their captivity. Summarizing these events would
not have effectively conveyed this experience so museum staff chose to tell the POW story using quotes
from survivors. Sharing these new voices was extremely
That is how it has been since my release. Things keep coming
home to me, belatedly. Slowly I am rejoining the world. As Lieutenant Rowe … said, we do not prize our freedom until we lose
it. And I know, having spent four years in the hands of the VC
[Vietcong], I will never again be the same after being the animal
called POW.
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850-832-1164
– 20 –
Due to the lack of POW images in South Vietnam, museum staff discussed the look and feel of the exhibit with
graphic artists. The artists turned poor quality images
into artworks that conveyed messages, evoked feelings,
and contributed an immersive atmosphere. The panels
included visual effects such as bamboo bars and barbed
wire to evoke a prison environment. The panels consisted primarily of brown and grey colors to convey the
POW’s filthy living conditions. The look of the panels reflected quote content.
Throughout the exhibit process, museum staff collaborated with stakeholders. Raymond Schrump who spent
1,711 days as a POW in South Vietnam discussed his
personal experience with museum staff and provided
guidance throughout the exhibit process. Collaborating
on the exhibit was therapeutic for Schrump, who experienced severe mental torture, physical torture, and
starvation and witnessed his friends die. He weighed 154
pounds before he was captured and 86 pounds when
he was released. Schrump’s captors bound his wrists
and ankles, positioned him on his knees, then gradually
forced his arms up behind his back. Schrump recreated
this experience in one of the exhibit dioramas.
Susan Rowe provided valuable insight into her husband’s
POW experience. James “Nick” Rowe was held captive
for five years in bamboo cages in various locations in
South Vietnam. Since her husband was no longer living, she ensured that the custom-made museum figure
of him was accurate. She also loaned personal materials
related to his captivity for the exhibit.
Due to the controversial and sensitive nature of the exhibit, museum staff ran through concepts with stakeholders. POWs and their families were invited to collaborate in the exhibit process and provide feedback.
The bulk of the information in this exhibit came directly
from primary sources who shared their personal experiences. Museum staff stated facts and provided little
interpretation.
Photograph reconstructed by graphic artist on exhibit panel
from The Animal Called POW.
– 21 –
Museum staff made the exhibit relevant to the public
by addressing the myths of POWs in popular culture.
Showing movie clips from the 1970s, 1980s, and 1990s,
conveyed the myths of POWs in Hollywood. The exhibit
concludes with a quote from Nick Rowe that is intended
to spark reflection among visitors. It states:
The enemy will never realize how much I thank them for taking everything material away from me, and reducing me to the
point where I didn’t have anything but faith in God. I had a
chance to look at myself and realize that you can do things you
never realized were possible.
Replica of Nick Rowe’s tiger cage displayed in The Animal Called
POW exhibit.
Ex
pe
rie
nce
Ultimately, the exhibit added to the scholarship in this
particular field. Museum staff compiled information
from various sources and stakeholders and used innovative techniques to create an untold POW experience.
The exhibit shared a little known aspect of the U.S. POW
experience in Vietnam.
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bit
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– 22 –
Task Force Ranger and
the Battle of Mogadishu
The Task Force Ranger and the Battle of Mogadishu exhibit coincided with the 20th anniversary of the Battle
of Mogadishu (October 3 to 4, 1993) that is popularly
referred to as “Black Hawk Down.” Task Force Ranger
consisted of a force of U.S. military Special Operations
soldiers sent to Somalia to capture warlord Mohammed
Farah Aideed and other persons of interest who were using humanitarian aid as a source of political power.
Although Task Force Ranger completed its mission, 19
U.S. soldiers were killed and one was taken prisoner. The
bodies of dead soldiers were dragged through the streets
of Mogadishu by a crowd of jubilant Somalis. Ultimately,
the mission was deemed a “failure.”
While completing the exhibit, museum staff encountered a number of exhibit issues. Rather than retell the
Ranger Clay Othic, a veteran of the Battle of Mogadishu,
participating in the exhibit process during the construction
of Task Force Ranger and the Battle of Mogadishu.
“Black Hawk Down” book or movie, staff wanted to
share new stories. Initially, Task Force Ranger veterans
were hesitant to participate in the exhibit, share their
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October 7, 2013 • 5:30 pm
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June 2014
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– 23 –
stories, and loan objects. These stakeholders were concerned with how the battle would be portrayed and unintentionally providing information that was still considered classified.
Another issue that emerged during the exhibit process
was the display of a controversial artifact. The wreckage of Super 61, the first black hawk to crash during the
Battle of Mogadishu, was recovered by a U.S. company
based in Mogadishu. Because U.S. soldiers died during
the crash, some believed this wreckage was a “memorial”
and should not be displayed but buried in the ground.
Museum staff partnered with U.S. Army Special Operations Command (USASOC) to encourage Task Force
Ranger veterans to participate. A USASOC committee
contacted veterans and let them know that they could
participate in interviews and provide exhibit loans. Another important role this organization played during the
exhibit process was to filter content that could still be
considered classified as well as vet content for accuracy.
The wreckage of Super 61, the first crashed Black Hawk
helicopter, served as the heart of the Task Force Ranger and
Battle of Mogadishu exhibit.
Involving stakeholders in the exhibit process at an early
stage and being transparent about the exhibit’s content
were the keys to veteran participation. Museum staff
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– 24 –
provided interview questions prior to interviews and respected veterans’ privacy if they did not want to answer
certain questions. Discussions with stakeholders were
held about how artifacts would be used and museum
staff vetted exhibit concepts with them. Even if veterans did not want to be interviewed or loan artifacts,
they were still invited to provide feedback throughout all
stages of the exhibit.
Regarding the issue of the Super 61 wreckage, USASOC
contacted the families of the veterans killed during the
battle. All of them endorsed the wreckage being exhibited and some went on to state that they wanted it to
stay in its current state and not be thoroughly cleaned or
restored. Before the wreckage was shipped from Somalia
to the United States, the Museum provided a curatorial
justification for customs stating that the wreckage was a
historical artifact and should not be cleaned due to potential damage. After the wreckage arrived at the museum, staff conducted minimal cleaning to remove loose
debris and spider webs.
A number of veterans also endorsed the display of Super 61. In a 60 Minutes episode that aired on October 6,
2013, correspondent Lara Logan interviewed Task Force
Ranger veteran Norm Hooten about his perspective regarding the display of the Super 61 wreckage:
lara logan: Some people think that the wreckage should’ve
stayed in the ground, should’ve stayed in Mogadishu, should
never have – come home. What do you think?
sergeant norm hooten: I think its coming back to where it
belongs.
lara logan: And that matters?
sergeant norm hooten: And that matters. To anybody that
was — that was there that night, it matters.
lara logan: And to people who lost loved ones that night.
sergeant norm hooten: Yes.
Stakeholder feedback impacted a number of aspects in
the exhibit area. Many veterans felt that the fallen were
never properly honored. This feedback inspired a memorial wall in the exhibit area that listed the names and
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– 25 –
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included photographs of all 19 veterans killed during the
battle.
Due to the sensitivity and controversy surrounding the
outcome of the conflict, museum staff provided a sequence of events for the Battle of Mogadishu with little
or no interpretation. They also shared the reflections
and experiences of veterans on digital photo frames
throughout the exhibit. Two touch screens were also
placed in the exhibit area highlighting artifacts in the exhibit. After selecting an artifact, visitors could hear more
about it directly from the veteran or family member.
New areas explored in the exhibit included the impact of
the battle on the veterans’ family members, the impact
of the battle on future U.S. Army operations, and how
the battle was portrayed in popular culture. Interview
clips and quotes from stakeholders concerning these
topics were displayed throughout the exhibit. Many of
these interview clips and quotes inspired reflection and
some contradicted popularly held notions.
Conclusion
The curatorial functions and techniques used during the
creation of The Animal Called POW: U.S. Special Forces
Prisoners of the Vietcong and Task Force Ranger and the
Battle of Mogadishu provide a number of lessons for museums curating exhibits with controversial or sensitive
content.
Always discuss controversial exhibits with stakeholders.
Stick to the facts and provide little interpretation so visitors can develop their own opinions. Also, let individuals speak for themselves through firsthand accounts (i.e.
quotes/videos). Controversial exhibits should be relevant to the public.
Collaborating with stakeholders improves accuracy,
shares new stories, adds to scholarship, and ultimately
Interactive touch screen in Task Force Ranger and Battle
of Mogadishu exhibit. Visitors learned more about artifacts
displayed in the exhibit directly from veterans.
makes the exhibit more powerful. Stakeholders want an
accurate portrayal of their experience.
Adding to scholarship in a particular field makes museums and curators credible. When there is a lack of resources, conduct heavy research and piece sources together to tell new stories and provide new perspectives.
When there are no images, collaborate with graphic
artists to create a mood and immersive environment.
Graphic artists can also fill exhibit gaps (i.e. lack of
images).
When possible, conduct interviews with stakeholders
and share their stories in exhibits. Use a variety of media
to showcase their experiences such as quotes and video
clips. This humanizes the exhibit.
Museum exhibits should be relevant to the public. Relate
exhibit content to popular culture and correct common
misconceptions. An exhibit should inspire reflection and
discussion. Museums are viewed as trustworthy institutions and are obligated to be credible platforms.
– 26 –
educate.
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Whether the destination is a
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we help organizations create
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EXHIBIT DESIGN & DEVELOPMENT
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– 27 –
a special thanks
SEMC Endowment
Contributions
two years to the endowment
fund:
Many thanks to our endowment
contributors for investing in the future
of SEMC! When you are thinking of
honoring or remembering someone,
please consider a contribution to
the SEMC endowment. For more
information, contact Executive
Director Susan Perry at 404.814.2048
or [email protected].
George Bassi
Sharon Bennett
Tom Butler Tamra Sindler Carboni
Douglas Noble
Robert Rathburn Graig D. Shaak Robert Sullivan
Kristin Miller Zohn George Bassi
David Butler
Patrick Daily
Julie Harris
Brian Hicks
Kathleen Hutton
Mary Lague
Kathryn Lang
R. Andrew Maass
Freda Mindlin
Robin Seage Person
Robert Rathburn
Allison Reid
Graig Shaak
Deitrah Taylor
Karen Utz
Heather Marie Wells
THE WILLIAM T.
AND SYLVIA F. ALDERSON
ENDOWMENT FELLOWS
The Past
Presidents Circle
Members of the Past Presidents Circle
contribute $150 annually for at least
Twenty members of SEMC have
made commitments of distinction as
Alderson Fellows. Their investment
of at least $1,000 each is a significant
leadership gift, reflective of a personal
commitment to the professional
association that has meant so much
to each of us.
Platinum Alderson Fellows
(minimum $5,000)
Sylvia F. Alderson
Bob Rathburn
Graig D. Shaak
Medallion Alderson Fellows
(minimum $2,500)
George Bassi
Sharon Bennett
– 28 –
Tamra Carboni
Martha Battle Jackson
Pamela Meister
Richard Waterhouse
Our Current Alderson Fellows
(minimum $1,000)
T. Patrick Brennan
Michael Brothers
W. James Burns
Horace Harmon
Pamela Hisey
Micheal Hudson
Rick Jackson
Andrew Ladis
Michael Anne Lynn
R. Andrew Maass
Robin Seage Person
Steve Rucker
The PETER S. LaPAGLIA JIMI
SCHOLARSHIP FUND
Established in 2008 to honor Pete
LaPaglia’s dedication to the museum
field and recognize his inspirational
leadership of SEMC’s Jekyll Island
Management Institute, this fund helps
endow an annual JIMI scholarship.
2014 marks JIMI’s 14th anniversary,
and SEMC has achieved the goal to
bring the fund’s total over $13,885.
OTHER SEMC
CONTRIBUTIONS
These funds contribute to the annual
meeting or to the general operating
funds for SEMC:
New or Renewal
Memberships
Received
SEMC thanks the 55 individuals, 50
institutions, and 5 corporate members
who have renewed or joined us for the
first time between November 1, 2013,
and March 3, 2014. Without your
Casework • Interactive Exhibits • Sculpted/Scenic Elements
Interaction,
loration!
Play & Exp
920 Race Street
Cincinnati, OH 45202
support and participation, we could
not provide region-wide services
such as our Mentor, Awards, and
Scholarship programs, as well as our
outstanding Annual Meetings and
nationally acclaimed Jekyll Island
Management Institute. If you are an
individual member and your museum
is not an institutional member,
please encourage them to join us.
For full information on memberships
and benefits, contact Executive
Director Susan Perry at 404.814.2048
or [email protected]. For
your convenience, the last page of
this newsletter is a membership
application.
Concept Design• Mechanical Effects & Props• Cabinetry
Animatronics • Portrait Figures • Technical Design• Scientific Models •
Gaylord Bros., JIMI Scholarship
Steven Jeffcoat, JIMI
John S. Lancaster, JIMI Scholarship
Nathan W. Moehlmann, Goosepen
Studio & Press, JIMI Scholarship
North Carolina Museums
Conference (NCMC),
JIMI Scholarship
Keith Post, Satilla Computer
Solutions, JIMI breakfast
The Smithsonian’s National
Museum of African American
History and Culture, John
Kinard Scholarship Fund
Ellen Strojan, JIMI
John A. Woods Appraisers,
Annual Meeting Scholarship
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Individual ($45)
Robyn Adams, Springfield, Virginia
Anne Angstadt, Dunwoody, Georgia
Timothy Baumann, Knoxville, Tennessee
Heather Beattie, Richmond, Virginia
William Bomar, Tuscaloosa, Alabama
Judith Bonner, New Orleans, Louisiana
Staci Catron, Atlanta, Georgia
Lisa Chastain, Cleveland, Tennessee
Kim Coryat, Little Rock, Arkansas
Susan Davis, Germantown, Tennessee
Mary Douglas, Sparta, North Carolina
Matthew Edwards, Mount Airy, North Carolina
Anna Fariello, Cullowhee, North Carolina
Emily Fee, Palm Beach Gardens, Florida
Robin Gabriel, Georgetown, South Carolina
Corwyn Garman, Winchester, Virginia
David Goist, Asheville, North Carolina
Chris Goodlett, Louisville, Kentucky
Sue Grannis, Maysville, Kentucky
Heather Guy, Birmingham, Alabama
Katherine Hughes, Mt. Vernon, Virginia
Emily Jones, Cleveland, Mississippi
Robin Kilgo, Big Pine Key, Florida
Elise LeCompte, Gainesville, Florida
Christina McClellan, Birmingham, Alabama
Thomas McGehee, Theodore, Alabama
Denny Mecham, Biloxi, Mississippi
Kristen Miller Zohn, Columbus, Georgia
Annelies Mondi, Athens, Georgia
Melissa Mullins, Hampton, Virginia
Kathryn Naylor, Decatur, Georgia
Cheryl Palmer, Charlotte, North Carolina
Ann Laura Parks, Atlanta, Georgia
Catherine Pears, Alexandria, Louisiana
Sharon Pekrul, Columbia, South Carolina
Emma Pulley, Jacksonville, Florida
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Jerry Raisor, Owenton, Kentucky
Megan Ramsey, Richmond, Virginia
Sarina Rousso, Athens, Georgia
Mark Scala, Nashville, Tennessee
Caroline Sexton, Spartanburg, South Carolina
Jeremy Underwood, Atlanta, Georgia
Brandon Wiegand, Carlisle, Pennsylvania
Jewdeia Williams-Olmsted, North Las Vegas, Nevada
Warren Woods, New Orleans, Louisiana
Student ($25)
Claire Auerbach, Scottdale, Georgia
Ashley Bouknight, Hermitage, Tennessee
Monica Bycroft, Murfreesboro, Tennessee
Lauren Denny, Durham, North Carolina
Christy Leonard, Jacksonville Beach, Florida
Claire Mundy, Cordova, Tennessee
BENEFACTOr ($75)
Sharon Bennett , Charleston, South Carolina
R. Andrew Maass, Longboat Key, Florida
Freda Mindlin, New York, New York
William Worthen, Little Rock, Arkansas
Institutional Members
(Category 1: $50 )
Lowe Art Museum, University of Miami, Coral Gables, Florida
Historical Society of Western Virginia, Roanoke, Virginia
LaGrange Art Museum, LaGrange, Georgia
Museum of Art DeLand Florida, DeLand, Florida
Aldie Mill & Mt. Zion Historic Parks, Aldie, Virginia
Plantation Agriculture Museum, Scott, Arkansas
Bailey-Matthews Shell Foundation, Sanibel, Florida
Maier Museum of Art, Lynchburg, Virginia
HistoryMiami, Miami, Florida
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Midway Museum, Inc., Midway, Georgia
Art Center Sarasota, Sarasota, Florida
Meadows Museum of Art at Centenary College
of Louisiana, Shreveport, Louisiana
Deerfield Beach Historical Society, Inc.,
Deerfield Beach, Florida
Kentucky Native American Heritage Museum, Inc.,
Corbin, Kentucky
Mountain Heritage Center, Cullowhee, North Carolina
Mooresville Public Library, Mooresville, North Carolina
Swope Art Museum, Terre Haute, Indiana
Florence Museum of Art- Science- History,
Florence, South Carolina
(Category 2: $150 )
Henry Morrison Flagler Museum, Palm Beach, Florida
Georgia Museum of Art, University of Georgia,
Athens, Georgia
C. H. Nash Museum, Memphis, Tennessee
Birmingham History Center, Birmingham, Alabama
Gadsden Museum of Art, Gadsden, Alabama
Gregg Museum of Art & Design, Raleigh, North Carolina
Marietta/Cobb Museum of Art, Marietta, Georgia
Abraham Lincoln Library & Museum, Harrogate, Tennessee
Mosaic Templars Cultural, Little Rock, Arkansas
Amory Regional Museum, Amory, Mississippi
Iredell Museum, Statesville, North Carolina
Historic Jefferson College, Washington, Mississippi
The Mennello Museum of American Art, Orlando, Florida
SCAD Museum of Art, Savannah, Georgia
(Category 3: $350 )
Lauren Rogers Museum of Art, Laurel, Mississippi
Anniston Museum of Natural History,
Anniston, Alabama
McKissick Museum, Columbia, South Carolina
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fine art and antiques. Our staff are knowledgeable in museum quality
transporting, packing, crating and object storage.
We also offer collection management when your valuables are stored in
our temperature and humidity-controlled storage facility.
Please email or phone us for more information.
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– 32 –
Jule Collins Smith Museum of Fine Art at AU,
Auburn, Alabama
William King Regional Arts Center, Abingdon, Virginia
The Clarksville-Montgomery County Museum,
Clarksville, Tennessee
Henry B. Plant Museum, Tampa, Florida
(Category 4: $450 )
Cape Fear Museum, Wilmington, North Carolina
Burritt on the Mountain, Huntsville, Alabama
Bob Jones University Museum & Gallery,
Greenville, South Carolina
Tennessee State Museum, Nashville, Tennessee
Museum of Fine Arts, St. Petersburg, Florida
Mobile Museum of Art, Mobile, Alabama
The Dixon Gallery & Gardens, Memphis, Tennessee
Bechtler Museum of Modern Art,
Charlotte, North Carolina
The Children’s Museum of The Upstate,
Greenville, South Carolina
consult
concept
(Category 5: $550 )
The Mint Museum, Charlotte, North Carolina
Edison & Ford Winter Estates, Fort Myers, Florida
Corporate Members
(Business Associate $350 )
Hands On! Inc., St. Petersburg, Florida
Our Fundraising Search, Atlanta, Georgia
CoreStrategies for Nonprofits, Inc., Miami, Florida
(Corporate Friend $1,000 )
Lord, Aeck & Sargent Architecture, Atlanta, Georgia
Big River Online, Cleveland, Ohio
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– 33 –
acquisitions
The Bachman Wilson House, a Frank Lloyd Wright Usonian house, acquired by the Crystal Bridges Museum of American Art.
arkansAs
The Crystal Bridges Museum of American Art has
acquired a rare Frank Lloyd Wright Usonian house, known
as the Bachman Wilson House, located in the Borough
of Millstone in Somerset County, N.J. Due to repeated
flooding, the house has sustained significant damage
and relocation has been recommended as a means of
best preserving the structure. The owners conducted a
multi-year search for a purchaser that could provide an
appropriate setting and context for the historic building.
Crystal Bridges has now acquired the home, which will
be disassembled and moved to Bentonville. There, it will
be reassembled on Crystal Bridges’ 120-acre grounds.
Site preparation will begin this spring, with reconstruction to follow toward a goal of completion in early 2015.
The Crystal Bridges Museum of American Art also
announced the acquisition of Hanging Heart (Gold/
Magenta), a monumental sculpture by internationally recognized artist Jeff Koons, which was installed just in time for Valentine’s Day. The bright
gold heart, which measures some 9½ feet wide, surmounted by an enormous magenta stainless steel “ribbon,” is now suspended from the ribbed ceiling of one
of the museum’s eponymous glass-walled bridges.
mississippi
On December 17, 1847, George Malin Davis and George
Grimes’ lives became intimately connected yet infinitely
different. Davis was a slave owner, and his former home
is now a National Park. Grimes was enslaved, and all we
have left of his history is his name and physical description from a bill of sale. At Natchez National Historical Park, this story began unfolding when park curator
Cheryl Munyer Waldrep received a phone call from a
pawn shop broker near Memphis, Tennessee about an
– 34 –
Knoxville artist Richard Jolley forms glass shapes. Attendees of the SEMC Annual Meeting in Knoxville will enjoy his Cycle of Life:
Within the Power of Dreams and Wonder of Infinity, a permanent sculpture debuting on May 4, 2014, at the Knoxville Museum of Art.
antique gold pocket watch, with an inscription linking it
to the park. The watch was engraved with the name of
George Malin Davis, who at one time owned Melrose,
an antebellum mansion and estate now part of the park.
Also on engraved on the watch was the name of George
Grimes. The National Park Service now owns the watch
and it is in the museum collection at Natchez National
Historical Park. They do not yet know its full interpretive value, but the watch provides a physical link to two
men named George whose lives were inextricably connected through a slavery-based society in the antebellum south. (Mississippi Museums Association’s Artifacts)
tennessee
On May 4, 2014, the Knoxville Museum of Art (KMA)
will debut a new, monumentally scaled sculpture by internationally acclaimed artist Richard Jolley. Commissioned especially for the museum’s newly refurbished
Great Hall, where it will remain on permanent view,
Cycle of Life: Within the Power of Dreams and the Wonder
of Infinity extends for some 100 running feet and soars
to a height of 12 feet, making it one of the largest figurative glass-and-steel assemblages in the world. Begun
in 2009, it is the Knoxville-based artist’s most ambitious
and complex undertaking to date.
– 35 –
congratulations
The Georgia Museum of Art received two awards at the Georgia Association of Museums and Galleries annual meeting in January. Bill
Prokasy, a GMA Trustee, was recognized for his advocacy, and the GMA’s The Kress Project received a Special Projects Award.
georgiA
The Atlanta History Center recently hired Jeremy
Underwood to serve as the Project Manager for the Atlanta’s Story exhibit that will be installed after the museum’s planned renovations. Jeremy has an impressive
educational background with a M.A. Museum Studies,
University of Florida, 2006. His thesis focused on community-driven exhibitions. While a graduate student, he
worked on exhibitions at the Grinter Gallery, the Samuel
P. Harn Museum of Art and Levin College of Law, all on
campus. More recently he has held professional positions at the Center for Puppetry Arts, the High Museum
of Art, and Malone Display and Fabrication in Decatur
where he worked on the Georgia Sea Turtle Center at Jekyll Island, among other projects.
The Georgia Museum of Art at the University of Georgia recently received three regional and state awards,
two from the Georgia Association of Museums and Galleries (GAMG) and one from the Southeast Chapter of
the Art Libraries Society of North America (ARLIS/SE).
– 36 –
LOUISIANA
over a century. The Times-Picayune
named A Company Man one of
the Top 10 Books for New Orleans
Readers of 2013. For more information on the book or to order a copy,
visit www.acompanymanbook.com.
The Historic New Orleans Collection’s 2013 title A Company
Man: The Remarkable French-Atlantic Voyage of a Clerk for the Company
of the Indies, by Marc-Antoine Caillot, edited by Erin M. Greenwald,
has recently been named one of two
2014 Humanities Books of the Year
by the Louisiana Endowment for
the Humanities. Recently rediscovered and never before published,
this buoyant and often irreverent
memoir recounts a young man’s
1729 journey from Paris to the New
World. Caillot’s narrative, featuring his own charming illustrations,
stands as one of the most significant finds in colonial history in well
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National Endowment for the Arts
(NEA) Acting Chairman Joan
Shigekawa recently announced
that the LSU Museum of Art will
be the recipient of a competitive
NEA Art Works grant to support
The Visual Blues, Harlem Renaissance Exhibition. This is the first
grant awarded to the LSU Museum
of Art by the NEA. Through July 13,
2014, the LSU Museum of Art will
present The Visual Blues, an exhibition exploring the rich interaction
1
8/16/13
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that took place between Harlem
Renaissance artists and the wealth
of blues and jazz music emanating
from the Deep South and moving
north. Artists and musicians blurred
artistic boundaries, drawing inspiration from each other and often contributing to the other’s art forms.
The Oak Alley Foundation will
be hosting a year-long celebration commemorating 175 years of
its antebellum mansion, the “Big
House”, which was the cornerstone
of the lives of the French Creole
family that lived at Oak Alley. Constructed from 1837 to 1839, this year
marks the 175th anniversary of the
completion of this iconic structure.
n
..
..
..
..
above: Ellis Wilson (1899-1977), Shore
Leave, 1943, Oil on Masonite, Amistad
Research Center, Tulane University, New
Orleans.
right: William Henry Johnson (19011970), Jitterbugs II, 1942, Screen Print,
Amistad Research Center, Tulane
University, New Orleans.
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– 38 –
SEMC
Quarterly Newsletter Ad
FEB 2014
include an exhibit commemorating
the Big House’s place in U.S. history,
a celebration to welcome the five
millionth-visitor to the site, which is
expected later this year, and a Civil
War Living History Day.
Portrait exhibited at Oak Alley.
They are working on finalizing several ways to commemorate this
important celebration which will
April of 2014 will mark ten years
that the Paul and Lulu Hilliard
University Art Museum has
been providing exceptional exhibits in its state of the art building designed by the New Orleans
firm of Eskew+Dumez+Ripple. The
University Art Museum is one of
the most unique and grand exhibit
spaces in the Gulf South region.
From its humble origins in the 1950s
at Brown Ayers Hall to the creation
of the A. Hays Town designed USL
Arts Center in the 1960s and the
gallery space in Fletcher Hall, the
University Art Museum has persevered over time to become the
shining jewel that it is today.
The Association of Fundraising
Professionals (AFP) Greater Baton
Rouge Chapter presented the BASF
site in Geismar, Louisiana with the
Outstanding Leadership in Corporate Philanthropy Award in November. The award goes to a business or
corporation that demonstrates exceptional financial support of charitable causes and sets an example
for others to follow. BASF was nominated for the award by the Louisiana Art & Science Museum.
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The City Council received a presentation from Edward
Tresch, Retired Colonel Russell Mayeur, Dr. Gordon H.
“Nick” Mueller and Bill Detweiler recognizing Bobby and
Lori Savoie for their generous support of the new Train
Car Experience at the National World War II Museum.
The Train Car Experience, which opened this past Veterans Day, is the museum’s latest exhibit that features an
immersive experience in a stationary train modeled after
the Pullman sleeper cars of the 1940s and aims to recreate for guests the experience of going off to war. The
exhibit is located in the museum’s Louisiana Memorial
Pavilion and was made possible by a gift from The Bobby
and Lori Kent Savoie family in honor of Lori’s father, Leroy Wayne “Pete” Kent, a World War II veteran.
NWWII presentation: Lori and Bobby Savoie with Council
members Cantrell, Head, Clarkson, and Gisleson Palmer.
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construction
arkansas
The Shiloh Museum of Ozark History recently completed an extensive remodeling of the museum store and
front desk area, providing more services to the public
(including the ability to make credit-card purchases), a
greater selection of merchandise, and access to locally
made crafts.
georgiA
The Tubman African American Museum in Macon,
GA recently restarted construction on their new building. Museum Executive Director Andy Ambrose said the
museum at last has the funding, and construction plans
are in place to open the museum to the public in the
spring of 2015. At 49,000 square feet, the new building
is far larger than the current museum on Walnut Street,
which Ambrose said could display only a fifth of the
Tubman’s collections. The new building will also allow
the Tubman to run things not just bigger but better. It
will have dedicated classroom space to help with educational programs, and a sweeping stairway could help the
museum rent out the facility. The structure will also help
bring together a blend of African-American art, history,
and culture that may be unmatched.
The Discovery House, an interactive children’s museum
located within the Museum of Arts and Sciences in
Macon, GA, reopened after renovations. The threestory annex, which opened in 1996, holds treasures and
artifacts, including the 40-million-year-old whale fossil
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Ziggy. The museum offers dozens of new exhibits and
the Scientist’s Workshop, on the basement floor, as well
as the Artist’s Garret on the upper floor.
determined structural details, and photographs, diaries,
letters, contemporary newspapers, and recollections of
family member supplied information on interior details.
MISSISSIPPI
The Lauren Rogers Museum of Art in Laurel, Mississippi, has added a 5,425 square foot addition to the
90-year-old museum. It began its $5 million Framing the
Future: Campaign for Excellence in the summer of 2010
and, after a public announcement in September 2011, has
now raised more than $5 million in gifts and pledges. The
addition provides new gallery space designed for maximum versatility, a new storage vault for the museum’s
nationally recognized art collection, and an expansion
of the museum’s loading dock area. The campaign also
adds approximately $2 million to the museum’s endowment for outreach education and operating expenses.
The Manship House Museum will reopen in 2014, after a million-dollar-plus repair of the building’s foundation. The floor of the circa-1857 house was over thirteen
inches out of level, which resulted in huge cracks in the
plaster walls and damage to the reproduction wallpapers.
Restoration of the interior elements and exterior will be
completed in the next phase of work. The restoration of
the Manship House by the Mississippi Department of
Archives and History is based on archaeological, architectural, and historical research. Excavations on the site
– 42 –
On October 24, the ground was broken for the Museum
of Mississippi History and the first Mississippi Civil
Rights Museum. The two museums, which will share
public spaces and classrooms, are scheduled to open in
the fall of 2017 as the centerpiece of the state’s bicentennial celebrations. In addition to thousands of artifacts, the museums will showcase the heroic stories of
Mississippians—both the famous and the unsung. The
Museum of Mississippi History, which replaces and expands a museum damaged by Hurricane Katrina in 2005,
will explore the sweep of the state’s history from earliest
times to the present. The Mississippi Civil Rights Museum, the nation’s first state-operated civil rights museum, will examine the struggle for civil rights and equality that changed the course of the state and the nation.
virginia
On May 10, 2014, the Chrysler Museum of Art will reopen following an extensive renovation and expansion designed to showcase the museum’s nationally recognized
collection and support new exhibition strategies and educational programming. The project includes the redesign
and refurbishment of the Chrysler’s 210,000-square-foot
interior and the addition of two new wings flanking the
museum’s front entrance. Upon reopening, the Chrysler will mount the most comprehensive presentation in
more than 25 years of its 30,000-work collection, which
includes particular strengths in American and European
painting and sculpture, as well as one of the world’s finest
collections of glass. For more information on the Chrysler
Museum of Art, visit www.chrysler.org.
– 43 –
– 44 –
innovations
arkansAs
The Crystal Bridges Museum of American Art established the William Reese Company Teacher Fellowship open to high school educators that are interested in
enriching high school curriculum through interdisciplinary connections between American art and core curriculum subjects of language arts, history, social studies, and
the sciences. The Fellowship will be a one-month residential program that includes a $4,000 stipend, which
may be used to cover transportation and housing costs
during the recipient’s residency at Crystal Bridges. Fellows will be selected on the basis of their project narrative and the potential to enrich high school curriculum based on an interdisciplinary connection between
American art primary and secondary print resources and
a subject topic. Creative research projects that seek to
enhance traditional teaching methods and engagement
are particularly encouraged. Fellows will have access to
the art and library special collections of Crystal Bridges
as well as the University of Arkansas Libraries in nearby
Fayetteville.
LOUISIANA
Alexandria Museum of Art offers Spanish Language
Art Talks with artists on April 12 and June 14, 2014. Have
fun speaking Spanish and learning about the art of Spanish-speaking cultures. Conversation, cultural exchange,
and fun!
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– 45 –
people and places
alabama
The Gadsden Museum of Art
(GMA) announced the passing of
former director and artist, Steve
Temple. Temple served as Director
of the GMA: Gadsden Museum of
Art for almost a decade, overseeing its growth and relocation from
Elliott Community Center to the
GMA’s present home at 515 Broad
Street, where there are three floors
of exhibit and event space. A memorial service was held March 16,
2014, to honor Steve, his life, and
accomplishments. As a friend to
many in Alabama and SEMC museums, Steve was “always encouraging,
supportive, and optimistic.”
arkansas
The Gadsden Museum of Art celebrated
the life of its accomplished director Steve
Temple, who passed away this year.
The Arkansas Museums Association in partnership with the Arkansas Secretary of State’s office will
highlight museums statewide in an
exhibit featuring information, photographs, and artifacts that document, preserve, and interpret community history, environment, and
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– 46 –
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culture. The exhibit will be featured
in the Arkansas State Capitol rotunda and galleries, providing legislators, school children, and other
visitors the rare opportunity to learn
about Arkansas museums and their
unique story. This exhibition will
highlight the wonderful work being
done by museums throughout the
state of Arkansas in the hope that
other states might be inspired to
pursue such projects.
The Shiloh Museum of Ozark
History recently hired Corryn Hall
as an education assistant. She was
born in Houston, Texas, and grew
up in Poteau, Oklahoma. She comes
from a family of educators, as both
her mother and father were teachers in Poteau and her grandfather
served as school superintendent.
Corryn attended the University of
Arkansas, graduating with a degree
in political science. Her honors thesis was a study of women’s political
roles in Tanzania, where national law
guarantees a certain number of seats
for women in Parliament.
Historic Arkansas Museum is
proud to present A Sure Defense: The
Bowie Knife in America in the Horace
C. Cabe Gallery through June 22,
2014. “This exhibit is the largest and
most important ever done on America’s iconic contribution to the world
of blades,” said Historic Arkansas
– 47 –
From A Sure Defense: The Bowie Knife
in America at the Historic Arkansas
Museum.
A Sure Defense: The Bowie Knife in America at the Historic Arkansas Museum.
Museum Director Bill Worthen.
A Sure Defense: The Bowie Knife in
America will trace the history of this
country’s most famous knife from just
before its birth in a rough melee on a
sandbar above Natchez, Mississippi,
in 1827, to the skilled craftsmen who
keep the tradition alive to this day in
the form of hand crafted blades.
Crystal Bridges Museum recently
hired a new School and Community
Programs Manager to its growing
education team. Zev Slurzberg has
taken the position, while former
manager Anne Kraybill has moved
into the position of Distance Learning
Project Manager. Slurzberg comes to
Crystal Bridges from the National
Gallery of Art, Washington, D.C.,
where he worked for 10 years—first
in visitor services and the remaining
eight years as a museum educator
specializing in programs for teachers. At Crystal Bridges, Slurzberg
will manage School Tour programs,
– 48 –
educator professional development,
and a variety of other school and
community programs. Anne Kraybill now takes on the development
and implementation of an ambitious
Distance Learning Project at Crystal
Bridges. In July, the museum hosted
a Distance Learning Summit, with
40 participants from major museums and other institutions across
the country contributing to discussions and sharing best-practices in
the field of distance learning.
GEORGIA
The Augusta Museum of History is pleased to present Augusta,
1864, an exhibition that focuses on
Augusta and its citizens as they prepare for a military invasion. What did
happen and how did it affect the region and its people? The exhibition,
Augusta, 1864 was made possible by
the Porter Fleming Foundation. The
exhibition opened in January 2014
and will close in January 2016.
Part of the Augusta Museum of History’s
new exhibition Augusta, 1864.
From the Georgia Museum of Art’s current
exhibition Rugs of the Caucasus.
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In conjunction with the seventh
Henry D. Green Symposium of the
Decorative Arts, the Georgia Museum of Art at the University of
Georgia features the exhibition
Rugs of the Caucasus from January
The Georgia Museum of Art exhibits the work of Tristan Perich, a
contemporary artist and composer, in conjunction with the Slingshot
festival of music, electronic art, and technology.
through April 2014. This exhibition focuses on the distinctive style of rugs from the Caucasus, an area that includes
contemporary Armenia, Azerbaijan and Georgia. Each rug
can be identified as originating from a specific area of the
region. These regions each had specific styles and designs
for their rugs that conveyed their creators’ surroundings,
lives and religion. From images of crosses that may reflect
Christian origins to Islamic patterns, the variety of patterns tells a unique story of the war-torn region.
In conjunction with 2014’s Slingshot festival of music,
electronic art and technology, the Georgia Museum
of Art opened exhibitions devoted to works by Tristan
Perich and Quayola. Perich is a contemporary artist and
composer based in New York City who works in electronic
sound art and other media and recently had work included
in the exhibition Soundings at the Museum of Modern Art.
Quayola is a visual artist based in London who works in
photography, geometry, time-based digital sculptures and
immersive audiovisual installations and performances.
Also in conjunction with the Slingshot festival, the Georgia Museum
of Art features the work of Quayola, a visual artist based in London.
In January 2014, Booth Western Art Museum opened
two new exhibitions featuring the art of two female artists.
Georgia artist Susan K. Friedland’s exhibition Windows of
the Soul: A Portrait of America opened January 7, 2014, in
Borderlands Gallery and will run through April 6, 2014. On
January 16, 2014, Donna Howell-Sickles, who is among the
most recognized women artists in the West, opened her
exhibit Taking the Reins! The Art of Donna Howell-Sickles
– 50 –
Making a Target of Herself by Donna Howell-Sickles at the Booth
Western Art Museum.
in the Booth’s Temporary Exhibition
Gallery and it will remain on view
through April 27, 2014.
louisiana
In its new exhibition, Shout Sister
Shout! The Boswell Sisters of New Orleans, The Historic New Orleans
Collection rediscovers one of the
city’s most celebrated musical exports. In the 1920s and ’30s, a trio of
sisters from New Orleans became
the darlings of radio’s golden age.
Martha, Connie, and Vet Boswell
were classically trained musicians
heavily influenced by the city’s vibrant jazz scene. Together they pioneered the cheerful, close-harmony
vocal style that became emblematic
of 1940s girl groups. The exhibition, on view through October 26,
features listening stations, memo-
Grandfather Tells Interesting Stories by Susan K. Friedland at the
Booth Western Art Museum.
rabilia, photographs, radio scripts,
and notes from fans and peers. Programming throughout the exhibition will feature live performances.
The Boswell Sisters (from left: Connie,
Vet and Martha); 1932; photoprint by John
de Mirjian, photographer; The Historic
New Orleans Collection, gift of the Boswell
Museum of Music, 2011.0315.83
New Orleans is known for its distinctive Creole heritage—evident in its food, architecture, and
– 51 –
Cover of Creole World: Photography of
New Orleans and the Latin Caribbean
Sphere (THNOC 2014) by Richard Sexton.
people—but it is part of an entire
family of Latin Caribbean cities that
forged new identities from their colonial histories. On April 15, 2014,
The Historic New Orleans Collection will present Creole World:
Photographs of New Orleans and the Latin Caribbean
Sphere, a new exhibition and book by renowned author and photographer Richard Sexton exploring these
connections. The exhibition of more than 50 color images will be on view in THNOC’s Laura Simon Nelson
Galleries for Louisiana Art, 400 Chartres St. through
December 7.
The Friends of the Mansfield Female College Museum sponsored a gala on March 29 in the newly renovated Clista A. Calhoun Center. The evening commenced
with guided tours of the museum and new exhibits before guests moved across the street for a seated dinner
and an auction. The theme, Broadway Comes South,
was selected to honor Mansfield’s own Broadway and
Hollywood genius, Joshua (Josh) Logan, III. The musical
selections featured songs from the shows he directed or
co-wrote, including South Pacific, Picnic, Camelot, Paint
Your Wagon, and Annie Get Your Gun. The professional
ensemble, Shreveport Opera Express, entertained with
stage and show tunes from classic musicals. “Characters
are welcome,” and guests were encouraged to contribute to the ambiance of the evening by dressing as their
favorite Musical Comedy character. All proceeds will be
used to promote and support the Mansfield Female College Museum.
The West Baton Rouge Museum has a new field
trip experience designed especially for children ages 3
to 6 years old. The program S is for Sugar is a 90-minute, hands-on, fun-filled adventure for kids to learn
about farming, letters, and sugar! Two friendly puppets,
Sweetie Pie and Sugar Guy, lead kids through activities at
carefully selected stops in the museum, at the sugar cane
patch, and in a late 19th century historic sugar plantation
building where the kids will engage in writing, saying and
learning about the letter “S” and planting sugar cane in
the ground just like Louisiana farmers!
Exhibitions on display at the West Baton Rouge Museum include: Talented Art Student Exhibition, through
April 27; Lincoln: The Constitution and the Civil War,
– 52 –
April - May; A Louisianan’s Grand Tour in the Belle Époque,
May 10 - July 20; and Jim Bowie and Family in Louisiana,
June 7 - August 31.
The National World War II Museum (New Orleans)
will open a new exhibition on September 18, 2014 entitled
D-Day: The Invasion of Normandy & Liberation of France.
Step into the footsteps of an Allied soldier to tour a oncesleepy French province marked forever by history. Based
in the ancient city of Bayeux, the first city liberated by
the Allies via the Normandy campaign, each day of the
tour offers guided trips into the surrounding area. Learn
the story of American paratroopers at the Musée Airborne, ride with Teddy Roosevelt Jr. at the Utah Beach
Museum, and reflect on the campaign’s magnitude at
the American Cemetery at Colleville-sur-Mer. Step
inside a church where US medics treated both American
and German soldiers, or sit side-by-side with tour companions for a communal lunch overlooking the sea. Go to
www.nationalwww2museum.org for more details.
The Chennault Aviation and Military Museum is excited to announce the first Chennault Summer Fun Boot
Camp for ages 7 through 15. The two four-day camps are
designed to teach students about the science of aviation and the importance that it has played throughout
history. The curriculum for the camps is STEM (science,
technology, engineering, and math) based. The first
camp will be held June 17th-20th 2014 for ages 7-11. The
second camp will be held June 24th-27th 2014 for ages
12-15. See the museum’s website at www.chennaultmuseum.org for more information.
– 53 –
Photograph from Dickie Landry’s New York: 1969–1979 at the
Paul and Lulu Hilliard University Art Museum in Lafayette.
The Alexandria Museum of Art hosts its 4th Annual Dragon Boat
Races, a signature fundraiser for the museum.
A recent article in the New Orleans Advocate highlighted volunteers recreating a historic Creole Lenten
at the Hermann-Grima House Museum. A meal of
richly seasoned gumbo aux herbes, trout amandine and
potatoes au gratin does not seem austere to 21st-century sensibilities but in 1830s New Orleans the absence
of meat and rich sauces to which those of means were
accustomed clearly indicates that this dinner is “maigre”
or “thin,” and suitable for Lent.
The New Orleans Museum of Art has several exhibitions currently on display. Rising Up: Hale Woodruff’s
Murals at Talladega College, a collaboration between the
High Museum of Art and Talladega College, conserves
Hale Woodruff’s murals commissioned by Talladega College in 1938 and presents them to a national audience for
the first time. In 1938 Atlanta-based artist Hale Woodruff
was commissioned to paint a series of murals for Talladega College, Alabama, one of the first colleges established for blacks in the United States. Though he painted
the murals for a local audience of students and faculty,
Woodruff intended their impact to reach beyond Talladega’s campus. Today the murals remain symbols of the
centuries-long struggle for civil rights. Other exhibitions
currently on view include Mel Chin: Rematch, which will
be open to the public until May 25, 2014 and Photography
and the Civil War, which will be on view until May 4, 2014.
The Paul and Lulu Hilliard University Art Museum
in Lafayette presents Dickie Landry’s New York: 1969-1979
through May 17. Known primarily as a musician, Richard
“Dickie” Landry (born in Cecilia, LA, 1938) has played a
large range of music including classical, jazz, rhythm and
blues, Zydeco, Reggae, punk, and avant-garde. This exhibition highlights Landry’s work in the visual arts which
began when he first arrived in New York City in 1969. His
experience working with and living around artists during
a particularly exuberant period of time in American art
history allowed Landry access to, and participation in,
the moments when New York City became an artistic
mecca.
The Alexandria Museum of Art is proud to present the
4th Annual Louisiana Dragon Boat Races™ on May 10.
AMoA’s signature fundraiser is free and open to the public!
Features races on the river, art and food vendors, entertainment by Taiko Drummers of Houston, and interactive art
– 54 –
Sandra Wright Shen performs at the
Asheville Art Museum.
exhibitions. There will also be contests for best team area, most team
spirit, and best-dressed drummer!
This exciting family event makes for
a great day of spirited racing, and a
great time — on and off the water!
Louisiana Art and Science Museum exhibited The Red Stick Piece:
An Installation by Jonathan Brilliant.
Jonathan Brilliant stacks, arranges,
and carefully weaves nearly 50,000
individual coffee stir sticks into
monumental site-specific installations that are held together by sheer
tension. Responding to the immediacy of his surroundings — the
coffee house — he began to collect
the free accoutrements available
for to-go customers, including lids,
cups, and sugar packets.
norTH
CAROLINA
The Asheville Art Museum
is excited to announce its next
Dawn Autumn Forest Great Smoky Mountains National Park Tennessee from the
Knoxville Museum of Art’s exhibition Sight and Feeling: Photographs by Ansel Adams.
Pianoforte recital on April 6 featuring internationally-recognized
soloist Sandra Wright Shen. The
award-winning pianist will be playing pieces from Johann Sebastian
Bach, Franz Liszt, Maurice Ravel,
Zhao Zhang, Peixun Chen and Sergei Rachmaninoff, among others.
The museum’s Pianoforte recitals
are held in the East Wing Upstairs
– 55 –
Gallery, among evocative works of
art. During Shen’s recital, the masterful photography of Ralph Burns
will be on view in the gallery.
tennessee
The Knoxville Museum of Art
(KMA) presents Sight and Feeling: Photographs by Ansel Adams January 31 –
May 4, 2014. This exhibition of 23 prints by Ansel Adams emphasizes the role of the artist’s intuitive and
emotional response to the landscape in the creation of
his powerful and enduring images. Also included in the
KMA’s special presentation of this exhibition are three
rare prints Adams made during his little-known visit to
East Tennessee’s Smoky Mountains in 1948. Few are
aware that in 1948 Adams traveled to the Great Smoky
Mountains National Park — his first and only recorded
visit to Tennessee — in order take photographs as part
of a Guggenheim Fellowship on America’s national parks
and monuments. The resulting images represent an extensive and important artistic record of the Smokies approximately 14 years after the park was established.
virginia
Richard “Dick” Ruehrwein of the Creative Company
died on Valentine’s Day, February 14, 2014. For over
twenty years, Lillian and Dick Ruehrwein have contributed their creativity as publishers for museums. Dick, a
“writer, animal lover, creative soul,” will be missed by the
SEMC museum community.
The Virginia Association of Museums (VAM) is
pleased to announce it has been selected to serve as the
administrative manager of FRAME North America. The
French Regional American Museum Exchange (FRAME)
is a consortium of 26 major museums in France and
North America (including our own Virginia Museum of
Fine Arts) that promotes cultural exchange in the context of museum collaborations. FRAME fosters partnerships among its member museums to develop innovative
exhibitions, educational and public programs, and professional exchanges among museum staff, and maintains
a bi-lingual website to reach global audiences. Tracy Gillespie, VAM’s president, said, “FRAME is going to be a
wonderful experience for VAM. Working with the members of FRAME will provide an opportunity to build relationships with the broader art museum community and
Richard “Dick” Ruehrwein of the Creative Company.
bring us increased recognition throughout the national
and international museum community.”
The Virginia Historical Society (VHS) is proud to be
one of many organizations around the nation chosen to
host the Created Equal: America’s Civil Rights Struggle film
series in 2014. The film series is made possible through
a major grant from the National Endowment for the
Humanities, as part of its Bridging Cultures initiative, in
partnership with the Gilder Lehrman Institute of American History. Created Equal uses the power of documentary films to encourage communities to re-examine the
meaning of civil rights in twenty-first century American
society. The other documentaries in this series include:
The Loving Story on June 19, Freedom Riders on August 28,
and The Abolitionists on November 6.
– 56 –
what’s happening
Send information for What’s Happening to Susan Perry at [email protected].
PROFESSIONAL
DEVELOPMENT
Join the American Alliance of Museums in Seattle,
Washington, May 18-21 for their 107th Annual Meeting &
MuseumExpo. Some 5,000 attendees from over 60 countries will take part in more than 150 substantive sessions and
countless networking opportunities. Full program information
is available at: www.aam-us.org/am14. SEMC will have a gathering event on Tuesday, May 20, in Seattle.
The American Association for State and Local History
will hold its Annual Meeting and Online Conference in St. Paul,
Minnesota from 17-20 September 2014. Now in its eighth year,
AASLH’s Small Museums Committee is offering scholarships
to any AASLH members who are full-time, part-time, paid, or
volunteer employees of small museums. Each $500 scholarship will cover the cost of the conference registration and the
Small Museums luncheon. Any remaining funds may be used
to offset travel and/or lodging expenses. To qualify, the applicant must work for a museum with a budget of $250,000 or
less. They also must be either an individual AASLH member or
work for an institutional member. Application forms are available at www.aaslh.org/SmallMuseums. The deadline for applications is June 13, 2014. For questions, please contact Bruce
Teeple, Small Museum Scholarship Subcommittee Chair at
[email protected].
The Board of Directors of the Museum Trustee Association
is pleased to announce the appointment of Mary Baily Wieler
as President of the organization. Ms. Wieler currently serves as
Chairman of The Board of The Museum Trustee Association.
Earlier in her career, she worked in international finance and
capital markets in New York. For the last 18 years, Ms. Wieler
has held board leadership roles with several Baltimore area
not-for-profits including The Baltimore Area Grantmakers
Association, The Enoch Pratt Free Library and Planned
Parenthood of Maryland. She currently is a Vice-President
of the Board of Trustees of The Walters Art Museum and
Secretary of The Board of Directors of GBMC Healthcare, Inc.
The MTA office currently located in Washington, D.C. will relocate to Baltimore in the 1st quarter of 2014.
state museum meetings
Alabama Museum Association (AMA)
Date: May 5–6, 2014 (rescheduled)
Location: Florence, AL
www.alabamamuseums.org
Florida Association of Museum (FAM)
Date: September 7–10, 2014
Location: Jacksonville, FL
www.flamuseums.org
Kentucky Museums and Heritage Alliance (KMHA)
Date: June 8–10, 2014
Location: Morehead, KY
www.kymuseums.org/annualmeeting.html
Louisiana Association of Museums (LAM)
Date: April 27–30, 2014
Location: Natchitoches, LA
www.louisianamuseums.org
Mississippi Museums Association (MMA)
Date: April 6–8, 2014
Location: Laurel, MS
www.msmuseums.org
North Carolina Museums Council (NCMC)
Date: March 28–30, 2015
Location: Durham, NC
www.ncmuseums.org
– 57 –
important dates
may 1, 2014 Annual Meeting Super Early Registration opens online
may 16, 2014 Deadline for STATE NEWS for Summer 2014 Inside SEMC
july 31, 2014 Annual Meeting Early Registration deadline
aug 8, 2014 Deadline for SEMC Scholarship Applications
aug 8, 2014 Deadline for SEMC Awards
aug 8, 2014 Deadline for SEMC Publication Design Competition
aug 8, 2014 Deadline for SEMC Exhibition Competition
aug 15, 2014 Deadline for STATE NEWS for Fall 2014 Inside SEMC
oct 20–22, 2014 SEMC 2014 Annual Meeting, Knoxville, TN
semc
new job
forum
SEMC Job Forum offers employers and job seekers the ability to search and post jobs on SEMC’s website. SEMC Job
Postings are now self-serve for a flat fee of $20 each job description, regardless of the word count. SEMC Member
Institutions may post a job announcement to this forum and pay-per-post by following the link: Job Posting $20.
– 58 –
membership
Name _________________________________________________________________________
____________________________________________________________________________________________________
Position_______________________________________________________________________
____________________________________________________________________________________________________
Institution _____________________________________________________________________
____________________________________________________________________________________________________
Address _____________________________ City__________ State_______ Zip
____________________________________________________________________________________________________
Phone _____________________________ Fax ________________________________________
____________________________________________________________________________________________________
Email Address __________________________________________________________________
____________________________________________________________________________________________________
Individual Membership
 Individual. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $45$_______
 Student . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $25$_______
 Benefactor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $75$_______
Institutional Membership (based on annual budget)
 Below $100,000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $50$_______
 $100,000 - $499,999 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $150$_______
 $500,000 - $1 million . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $350$_______
 $1 million - $5 million . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $450$_______
 Over $5 million . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $550$_______
Corporate Membership
 Business Associate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $350$_______
 Corporate Friend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $1,000$_______
 Corporate Partner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $2,100$_______
A special gift of $_________ is enclosed to help support SEMC’s endowment.
___ Check enclosed (payable to SEMC)
___ I wish to pay with a credit card MasterCard  Visa  AMEX Credit Card #_____________________________________
Exp. Date ___________ | Signature (required for all credit card charges): _____________________________________________
mail to: SEMC/PO Box 550746/Atlanta, GA 30355 | or fax to: 404.814.2031 | SEMC FEIN #54-1042825
– 59 –

inside semc - Southeastern Museums Conference

Transcription

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