The Newsletter of the Southeastern Museums Conference summer 2023 | www.semcdirect.net
Executive Director’s Notes Zinnia Willits 7 Save the Date for Table Talk 2023! 8 President’s Address Matt Davis 11 Membership Corner: Welcome to the Conference! Carla Phillips 15 Programs Corner: Mid-Year Meeting Heather Nowak 19 Introducing the 2023 Plenary Session Panelists Leila Withers 25 GET READY FOR SEMC2023 IN LOUISVILLE! Chris Goodlett and Cynthia Torp 35 A Special Thanks: Endowment and Membership Contributions 49 35 ON THE FRONT COVER Installation view, Pop Stars! Popular Culture and Contemporary Art, 21c Museum Hotel Louisville, June 2017 – March 2018. Image courtesy of 21c
Museum Hotel Louisville.
Historic Locust Grove.
Remembering and Celebrating Graig Shaak 75 Inclusivity: A Personal Journey Mandie Creed 81 Set in Stone: Auburn Researchers Explore Art, History, and Story at the Jule Collins Smith Museum of Fine Art Charlotte Tuggle and Charlotte Hendrix 85 The SEMC Leadership Institute Returns in April 2024 93 The South’s Most Elusive Artist: Walter Inglis Anderson Meghan Lyman 97 Register Now for SEMC 2023: November 13–15, Louisville, Kentucky 103 Important Dates 106 SEMC Job Forum 106 Get Social 106 Membership Form 107 ON THE BACK COVER Louisville Slugger Museum and Factory, Louisville, Kentucky. 75
Graig Shaak and Robin Person.
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Manager of Communications
and Member Services
Heather Nowak Program Administrator contact semc SEMC | P.O. Box 550746 Atlanta, GA 30355-3246
T: 404.814.2048 or 404.814.2047
Inside SEMC is published three times a year by SEMC. Annual subscription is included in membership dues.
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The deadline for the Fall 2023 newsletter is November 17, 2023. To submit information for the newsletter, please contact Zinnia Willits (email@example.com) or Carla Phillips (cphillips@ semcdirect.net).
Matthew S. Davis President firstname.lastname@example.org
Director of Historic Museums, Georgia College, Milledgeville, GA
Dr. Calinda Lee Vice President email@example.com
Principal, Sources Cultural Resources Management, LLC, Atlanta, GA
Deitrah J. Taylor Secretary firstname.lastname@example.org
Public Historian, Milledgeville, GA
Scott Alvey Treasurer Scott.Alvey@ky.gov
Director, Kentucky Historical Society, Frankfort, KY
Heather Marie Wells Past President email@example.com
Digital Media Project Manager, Crystal Bridges Museum of American Art, Bentonville, AR
Glenna Barlow firstname.lastname@example.org
Curator of Education, Columbia Museum of Art, Columbia, SC
Alexander Benitez email@example.com
Director of Museums and Tourism, City of Portsmouth, Portsmouth, VA
Tafeni English firstname.lastname@example.org
Director, Alabama State Office, Southern Poverty Law Center/Civil Rights Memorial, Montgomery, AL
Katie Ericson email@example.com
Director of Education, Michael C. Carlos Museum, Atlanta, GA
Nancy Fields Nancy.firstname.lastname@example.org
Director and Curator, The Museum of the Southeast American Indian, Pembroke, NC
Brigette Janea Jones
Assistant Executive Director, Arabia Mountain National Heritage Area, Stonecrest, GA
Pamela D. C. Junior email@example.com
Former Director, Two Mississippi Museums, Mississippi Department of Archives & History, Jackson, MS
Rosalind Martin firstname.lastname@example.org
Director of Education, Knoxville Museum of Art, Knoxville, TN
Michelle Schulte email@example.com
Chief Curator, LSU Museum of Art, Baton Rouge, LA
Michael Scott firstname.lastname@example.org
Project Manager, Solid Light, Louisville, KY
Ahmad Ward email@example.com
Executive Director, Historic Mitchelville Freedom Park, Hilton Head Island, SC
Lance Wheeler firstname.lastname@example.org
Director of Exhibitions, National Center for Civil and Human Rights, Atlanta, GA
semc executive director’s notes
It’s hard to believe we are in the final months of summer 2023! As I enter my third year as Executive Director of this amazing organization and we continue to move purposefully forward, I am beginning to see/ feel workflow patterns emerge related to SEMC’s year-round programs and events that were upended by the COVID-19 pandemic. This makes it easier to plan (and plan, and plan, and then execute) but we have also learned that the new “normal” is less about settling in — rather, as a professional organization we are committed to being nimble, adjusting, evolving in real-time (rather than a glacial place) and to listening, learning and understanding the movement and growth of the museum field in order to support our members.
Speaking of summer though, these months are rapidly becoming some of the busiest for SEMC staff. Summer has become a time to solidify all the pieces that will create the spectacular 2023 Annual Meeting mosaic this fall in Louisville including, conference registration, hotel blocks, speakers, sessions, events, transportation, SWAG, networking events and celebrations, the Expo Hall, workshops, sponsorships, scholarships, competitions, awards, the annual meeting program.... OH MY! It goes without saying that it takes a village to coordinate all these moving parts and our annual
meetings would not be successful without the tireless work of SEMC staff (thank you Carla Phillips, Heather Nowak, and SEMC’s AWESOME summer intern, Leila Withers), Committees (thank you Local Arrangements and Program Committee!), Competitions and Scholarship Chairs and Committees (thank you Scott Warren, Michelle Schulte, Amanda Briede, and Deb Rose Van Horn) and Awards Chair and Committee (thank you Rosalind Martin!) and of course the stellar event coordination of Hutchinson Design Group! I am thankful to the SEMC Council and all our partners and supporters that will make SEMC2023 an amazing experience for ALL our members. Early bird registration runs through September 15, 2023. Take advantage of the discount and make your travel plans today. The room block will fill and the 2023 Expo Hall will sell out — do not delay!
While the summer months involve overseeing a whole lot of committee work, they are also a time for SEMC travel which is exciting after the last few years. My regular trips to the SEMC office in Atlanta now include dropping in to programs and events to support the Atlanta area and surrounding museums. We are also actively considering sites for SEMC2025 (SEMC2024 will be in Baton Rouge, Louisiana) which involves visiting the cities and museums under consideration, also a summer activity. Stay tuned for updates on
SEMC2025 later this fall! Finally, in late July I was thrilled to represent SEMC at my first Association of African American Museums (AAAM) Conference in Nashville, Tennessee. The short reaction to my experience at AAAM is simply “WOW.” This was an incredible convening of over 600 museum professionals representing black museums and industry partners from across the country! It was wonderful to see so many SEMC members in attendance, reconnect with individuals I have not seen in person in several years and consider ways that SEMC and AAAM can continue to partner and support our members through collaborative programming and networking. It was truly a wonderful experience with high-quality professional sessions, speakers, and events. Thank you to everyone at AAAM for providing such a warm welcome! It was also beneficial for me to experience a conference as a first-time attendee. Those of us who have been going to SEMC for a LONG time often forget what it is like to arrive for three days of networking as a first timer. Now
I remember, and our staff is committed more than ever to ensuring that those who are new to our conference know what to do, where to go, and have opportunities to network and socialize beyond the sessions. We are on it! Now is a good time to mark your calendars for the SEMC2023 Know Before You Go session (via Zoom) on October 24 at 12pm EST which will be a great start to answering all your conference questions. Also, don’t miss our upcoming monthly virtual programs or peruse previous recordings — a benefit of your SEMC membership.
I hope you enjoy this edition of Inside SEMC! We are thankful to all who contributed content, memories, ads, and design. I sincerely hope your summer has included downtime to recharge, reset and get ready for the fall. We can’t wait to see you in Louisville!
Respectfully, — Zinnia Willits ,
Save the Date for Table Talk 2023!
Mark your calendars for the Table Talk session at SEMC2023. This year Table Talk will take place on Sunday, November 12, from 8:30 to 10:00 pm at the E&S Gallery in Louisville, Kentucky. Transportation to and from the event will be available.
First introduced at SEMC2022, “Table Talk” invites museum practitioners to engage in dialogue around provocative topics regarding the industry as a means of challenging the status quo and broadening people’s perspectives about the field as a whole. These critical conversations aim to push individuals beyond the limits of business as usual, and into more intentional and innovative thought processes to reimagine museums. Plan to join the 2023 session for real conversation about the real work that needs to happen in this field.
SEMC2023, November 13–15, 2023, Louisville, Kentucky
9 SEMC Executive Director
semc president’s address
Greetings, SEMC Members!
I hope this message finds you well and gearing up for a fall full of exhibitions, programming, and other events at your respective museums. Your SEMC Staff, Council, and Committees have been busy over the summer preparing for #SEMC2023 in Louisville, and I hope you enjoy reading more about the upcoming annual meeting in this issue. We have a wide diversity of sessions, workshops, offsite programming, and various group engagements that will certainly make this our best conference yet. I hope you will make plans to join us in Louisville!
Our field continues to work through the aftermath of the COVID19 Pandemic and also to address multiple issues related to pay, equity and inclusion, robust interpretation, and issues related to collection ethics. It is important to build and reach out to colleagues and develop professional networks. SEMC provides a great opportunity to network and develop friendships to address issues we are all facing in the field and to help find solutions in your respective spaces. I know I rely heavily on my network of friends and colleagues from SEMC to help me work through these issues and more. If you find yourself in need of assistance, please reach out to me or any of our professional groups and we will help you get engaged with those who can help.
Finally, I wanted to thank you all for the kind notes and messages I received upon the death of my father. I certainly felt the support of this fantastic organization and it meant a great deal to me and my family. I hope you all have a fantastic fall and I look forward to seeing you in November in Louisville!
— Matt S. Davis , SEMC President
12 LIGHTING DESIGN FOR MUSEUMS Peabody Essex Museum Exhibit Design: Peabody Essex Museum availablelight.com
13 What’s on your summer reading list? nmaahc.si.edu/publications Get your copies here Shop our top picks
Welcome to the Conference!
Professional conferences such as the Southeastern Museums Conference (SEMC) Annual Meeting, are connected and supported by the museum industry and its leaders from around the region. SEMC 2023 will consolidate everything you could ever want to know about your future profession into three-plus days of informative sessions and exciting special events.
If you are a first-time attendee or still thinking about attending, read on for tips to get the best experience out of your conference adventure!
You learn really cool stuff. SEMC 2023 will be overflowing with information about industry standards, best practices, current trends, and important museum services (including swag!). The best part? You can sort through the entire schedule prior to arrival and plan to attend the workshops, sessions, and special events that are of interest to YOU. With so much to offer, there will be plenty of opportunities to learn and have fun.
You will meet incredibly successful (and incredibly NICE) museum professionals. If you are still searching for your dream job, the SEMC Annual Meeting will
be an opportunity to interact directly with friendly people actively working in the field who are ready to answer your questions and provide the guidance you need to keep your career moving forward! You’ll get to hang out with the speakers, exhibitors, and museum professionals from around the region, which puts you in a unique position to network, ask questions, and learn more about the things that interest you. Don’t forget about the SEMC staff! We’re running the conference but also having a lot of fun. Stop by the registration area with questions or just to chat. We’re passionate about making sure you have a great conference experience!
Register today (the student rate is $100) and make plans to meet us in Louisville this November. You’ll have the best time and walk away with new friends, colleagues you can check in with, and plenty of knowledge about your future career in the museum field.
— Carla Phillips , SEMC Membership & Communications Manager email@example.com
Chloe Catrow and Kaniah Pearson at SEMC2022.
Mid-Year Meeting, March 2023
For the first time since 2020, the Southeastern Museums Conference (SEMC) Mid-Year Meeting was held fully in person. The SEMC Program Committee (PC) and Council members gathered in Louisville, Kentucky from March 1–3, 2023. The meeting proved to be a successful return to the pre-pandemic model. Attending virtually was necessary for a few members and the virtual component will remain an option in the spirit of accessibility. However, it was extremely exciting and rewarding to be in a room full of people having face-to-face discussions!
Wondering what exactly the “mid-year meeting” is?
Each year in March, the SEMC Program Committee gathers in the Annual Meeting host city to spend a day reviewing, debating, and ultimately selecting the annual meeting program sessions. This Committee always has its work cut out, and this year proved no different with over 100 session proposals to choose from for 62 available spots. The review day is long, and the debate is spirited, but this year’s Co-Chair
Timia Thompson did an amazing job keeping the discussion neutral and centered around inclusivity. Even after hours of discussion, and many “counterpoints,” this group of 30+ remained friends at the end of the day! Involvement in the SEMC Program Committee is a wonderful and FUN way to get involved in our organization and add your input to the Annual Meeting Program. Consider joining the PC for SEMC2024 in Baton Rouge, Louisiana! Applications will open shortly after SEMC2023 concludes.
The SEMC Council also meets at the mid-year meeting to conduct Council business, discuss the budget, and strategize for the future. For those on both Program Committee and Council, it can be a jam-packed few days. It is not ALL work though. We build in time for fun as well! Representatives of the Local Arrangements Committee will attend the Council meeting to provide an overview of the planned conference events. The Council and Program Committee also toured the conference spaces at the host hotel.
Matt Davis, Zinnia Willits, Michele Schulte, and Patrick Martin, at the mid-year meeting, Louisville, Kentucky.
In addition, these hard-working SEMC volunteers get a preview of what the annual meeting host city has to offer. Each year is different, but this year, we had the wonderful opportunity to tour Roots 101 African American Museum. Founded by Lamont Collins in 2020, the Roots 101 African American Museum is a place where visitors can see themselves in history, explore the African American story in its entirety, and gain a greater understanding of the achievements, cultural contributions, and experiences of the African
American community. The museum gets its name from the idea that the first class taken on any subject in higher education is “101,” and that idea is therefore applied to their exhibitions in order to create an immersive introduction to learning African American history. During our group’s visit, Mr. Collins led a fantastic discussion, and we had the opportunity to see and interact with historical artifacts and tour the exhibits which left a lasting impression. Special thanks to Mr. Collins for graciously opening his museum to give us an impactful and memorable experience. If you would like to visit Roots 101 during your time in Louisville, it is located at 124 N 1st St, Louisville, KY 40202, just a short walk from the Galt House Hotel.
Lamont Collins and Pamela D.C. Junior at Roots 101 African American Museum, Louisville, Kentucky.
Program committee at mid-year meeting, Louisville, Kentucky.
Program committee at mid-year meeting, Louisville, Kentucky.
Did you know that the Louisville Annual Meeting is now 5 years in the making? After the SEMC2020 Louisville meeting was postponed due to the Covid-19 pandemic, the planning did not stop. The Local Arrangements Committee remained steadfast and refocused its efforts on a successful 2023 meeting. SEMC extends a heartfelt THANK YOU to the Louisville Local Arrangements Committee. We are especially grateful to the 2020 and 2023 Local Arrangements Committee
Co-Chairs, Cynthia Torp, and Chris Goodlett, and all who demonstrated grace, resilience, empathy, and stability during these difficult years. Now, ONWARD to SEMC2023 where we will meet together, stronger, and better!
— Heather Nowak , SEMC Program Administrator firstname.lastname@example.org
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SEMC Council at mid-year meeting, Louisville, Kentucky.
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WOW Interactive Wall Audubon Insectarium, New Orleans, LA
Introducing the 2023 Plenary Session Panelists
SEMC is excited to introduce and spotlight the speakers for the 2023 Annual Meeting plenary session which will take place on Monday, November 13, 2023 at 9am at The Galt House Hotel. This year’s conference theme is Truth Builds Community; we are excited to see what ideas the panel will bring to the table when speaking to our SEMC community. Each panelist has a very rich, interesting and impressive background, and each will be specially highlighted in this year issue of Inside SEMC!
The plenary panel host will be Andre Kimo Stone Guess. He is a native Louisvillian and grew up in the Smoketown neighborhood. He brings over 20 years of experience in the arts sector, working with arts organizations and individual artists. Before leaving Louisville for New York in 2000, Guess served as Vice President for the Lincoln Foundation, Inc. He notably served as the Vice President and Producer of Jazz at Lincoln Center (JALC) in New York City and as President and CEO of the August Wilson Center for African American Culture in Pittsburgh. He has also owned and operated his management consulting firm, GuessWorks, Inc., for over 14 years. During that time, he managed the careers of world-class artists and consulted on many projects. He currently serves as the President & CEO for the Fund for the Arts.
Leila Withers , SEMC Summer 2023 Intern
Andre Kimo Stone Guess.
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Our first panelist is Jecorey “1200” Arthur, an awardwinning teacher, musician, and activist from the West End of Louisville, KY. He earned his nickname “1200” after teaching himself to produce hip hop on a KORG D-1200 studio at age 12. A decade later he earned his Bachelor of Music Education and Master of Arts in Teaching at the University of Louisville. He has also founded 1200 LLC, an independent music agency specializing in compositions, performances, and events. He most recently earned the title of Councilman, as the youngest elected official in city history, representing Louisville Metro Council District 4. As a musician, Arthur has performed at the Percussive Arts Society International Convention, Big Ears Festival, Forecastle Festival, and Jungfrau Erzähl festival; performed as a soloist with the Stereo Hideout Brooklyn Orchestra and the Pittsburgh, Baltimore, Indianapolis, Nashville, Columbus, and Oregon Symphony Orchestras; performed as the first hip hop artist with the Louisville Orchestra including world premieres of folk opera The
Jecorey “1200” Arthur.
Way Forth and rap opera The Greatest: Muhammad Ali , where he starred as his hometown hero; and composed music for theatre, film, television, radio, podcast, and studio albums. As an activist, Arthur has produced multi-media educational content about the state of Black America, organized hundreds of events hiring thousands of regional artists, and used the arts to advocate for policy change. As a member of the American Descendants of Slavery (ADOS) Foundation—he writes policy, organizes campaigns, and trains activists across the U.S. Arthur has been featured on Al Jazeera, PBS, BET, BBC, CBC, NPR, NYT, and more. Arthur is a professor at the Historically Black College and University—Simmons College of Kentucky, an artist roster member of the Inner-City Muslim Action Network (IMAN), and an endorsed artist with Salyers Percussion. In 2019 he became a BMe Genius Fellow, using his reward to help open the Parkland Plaza, an outdoor green space, community venue, and natural playground in his childhood neighborhood. Since joining Louisville Metro Council, he has legislated dozens of policies focused on abolishing poverty. You can follow Arthur’s work online at @jecoreyarthur, @1200llc, and @parklandplaza.
Silas House is our next panelist, he is the nationally bestselling author of the novels—Clay’s Quilt, 2001; A Parchment of Leaves, 2003; The Coal Tattoo, 2005; Eli the Good, 2009; and Same Sun Her (co-authored with Neela Vaswani) 2012, and Southernmost (June 2018)— as well as a book of creative nonfiction—Something’s Rising, co-authored with Jason Howard, 2009; and three plays. His new novel, Lark Ascending, was published on September 27, 2022. House is a former commentator for NPR’s “All Things Considered.” His writing has appeared recently in Time, The Atlantic, Ecotone, The Advocate , Garden and Gun , and Oxford American . House serves on the fiction faculty at the NaslundMann Graduate School of Creative Writing and as the NEH Chair at Berea College. He is a member of the Fellowship of Southern Writers, the recipient of three honorary doctorates, and is the winner of the Nautilus Award, an EB White Award, the Appalachian Book of the Year, the Storylines Prize from the New York Public Library/NAV Foundation, the Lee Smith Award, and many other honors, including an invitation to read at the Library of Congress. Southernmost was a longest finalist for the Carnegie Medal for Excellence in Fiction and appeared on several Best of 2018 lists including The
Advocate, Booklist, Paste, Southern Living, Garden and Gun, and others. The book was given the Weatherford Award as well as the Judy Gaines Young Award. In April 2023, Kentucky Governor Andy Beshear appointed Silas House as the 2023-24 Kentucky Poet Laureate.
Vian Sora, an artist from Baghdad, Iraq, will complete our plenary panel. Having been born and raised during multiple wars, Sora’s paintings are informed by her life. Sora’s works, infused with emotional tension and based on confronting destruction and decay, challenge the boundaries of life through intentional color contrast within abstract landscapes. Sora’s visions fuse her own experiences with Iraqi history, cultural identity influences, and painterly abstraction. Though they are largely abstract, Sora’s paintings suggest figures and places, including gardens and war zones, landscapes of lush fertility and terrible decay, cycles of life and death. She is a first-generation immigrant painter addressing the effects of war and displacement. The foundations of her paintings utilize dark stains and clashing surface textures, which she often disrupts with vibrant paths of color that weave throughout the compositions, reflecting a journey to find harmony within the chaos. The figures and faces that emerge in her frenzied arrangements are references to the bodies, collective and individual, who have been devastated in
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the ongoing hostilities that besiege her home country. Sora prides herself in being a self-taught artist, currently working in Louisville, Kentucky, who has received degrees in computer science and an MBA. She studied printmaking under the tutelage of Suleyman Tekcan at the Istanbul Museum of Graphic Arts (IMOGA). Sora’s exhibitions have been held in Louisville, Baghdad, Istanbul, and Dubai, including at Dar El Cid Museum, Kuwait, IMOGA, and the Topkapi Palace, Istanbul. She recently participated in the KMAC Contemporary Art Museum Triennial and has participated in the International Art Festival, Baghdad, and the Sharjah Biennale. Her work has been collected by the Speed Art Museum and KMAC Contemporary Art Museum.
We would also like to highlight this year’s keynote speaker, Dr. Kevin W. Cosby . For more than 40 years, Dr. Cosby has served as the Senior Pastor of St. Stephen Baptist Church, the largest African American Church in the state of Kentucky, as well as the largest private employer of African Americans in the state. In 2005, Dr. Cosby was inaugurated as the 13th President of Simmons College of Kentucky. In 2007, he led the once fledgling college to reclaim its original campus that was lost during the Great Depression, expanded
the college’s campus to three locations and was officially designated as the nation’s 107th Historically Black College & Universities (HBCU). He continues to serve as the President. He has been consistently listed among Kentucky’s most influential leaders. He was selected as Louisvillian of the Year in 2007. He was ranked #1 of the Top Ten Religious Leaders in Louisville by Louisville Magazine in the October 2011. In 2012, he was inducted into the Hall of Distinguished Alumni at Eastern Kentucky University. In 2015, the Kentucky Commission on Human Rights inducted Rev. Dr. Cosby into the Gallery of Great Black Kentuckians, the 56th African American afforded this honor. Rev. Dr. Cosby has authored five highly-acclaimed books: Get off Your But!: Messages, Musings & Ministries to Empower the African-American Church; As They Went; Treasure Worth Seeking; Who’s Your Daddy?: Life Lessons from the Prodigal Son and Loyal to the Royal. His latest book was released in 2021 entitled: “Getting to the Promised Land: Black America and the Unfinished Work of The Civil Rights Movement.” The book is a Biblical commentary on the American Descendants of Slavery (ADOS). His keynote speech on Wednesday, November 15, will incorporate the messages from his extensive professional experience and body of work.
Dr. Kevin W. Cosby.
35 SEMC ANNUAL MEETING 2023
Kentucky Derby Museum
GET READY FOR SEMC2023 IN LOUISVILLE!
Chris Goodlett , Local Arrangments Co-Chair and Senior Director of Curatorial and Educational Affairs, Kentucky Derby Museum;
Cynthia Torp , Local Arrangements Co-Chair and Owner & CEO, Solid Light
Louisville, Kentucky has many monikers: Gateway to the South, Bourbon City, Derby City, and River City are just a few. For those of us on the Local Arrangements Committee—we call this beautiful city, “home.”
We are fortunate to have a rich, cultural scene in Louisville that includes many museums, galleries, and cultural institutions, and are excited to share them with our SEMC friends.
Before we dive in, we want to acknowledge the work that has gotten us to this point. The SEMC journey to Louisville began in 2015, when Louisville Tourism
reached out to secure the Annual Meeting. What began as a—dare we say “typical”—conference pitch and planning experience with the formation of the Local Arrangements Committee in 2018 to represent twenty-five organizations across Louisville and the Commonwealth, was derailed as the final details of the 2020 conference were coming together. We all know what happened.
As the 2020 conference dates passed, many of us wondered when we would be back together in person. How would we reconnect in such, “unprecedented,” times? Or after? Is it even possible?
Fast forward to “navigating a new normal,” the Local Arrangements Committee reconnected after the worst of the pandemic. Prepared to dive back into planning, we learned, even in the best of circumstances, the conference would not be able to come to Louisville until 2023. Three years past our intended conference, here we are—and we could not be more thrilled to share this year’s theme, sessions, evening events, and more with you!
The SEMC 2023 theme is Truth Builds Community Louisville was at the center of the 2020 social justice movements that arose throughout the country. We are proud to share that many of our cultural institutions took an active role in creating programs and exhibits to shed light, lift up underserved and underrepresented peoples, and create space for community engagement for healing and open dialogue. This theme is an acknowledgment, and challenge, that our institutions must continue to lead in confronting the truths in our communities, both past and present, to be a force for positive change from within.
We believe this is so important that we also added an opening plenary session on Monday morning of the conference. We invited several important local and
regional artist activists to share the work they are doing and discuss ways we can all take an active role in social and cultural justice and equality. Be sure to grab your seat early!
Our hope for you is that while you are taking in the learnings of the conference, you will also allow time to experience Louisville. The scheduled annual meeting tours and events will provide a window into the Louisville region’s arts and cultural sector. For those with the urge to explore independently, there are an array of dining choices and entertainment activities. We have a plethora of distilleries in the city and the region—and many restaurants and bars are part of the Urban Bourbon Trail. We often joke that “we eat bourbon with a fork” here because many chefs find fantastic ways to incorporate it into their cuisine. We have a beautiful park system and walkable downtown. We would be remiss if we forgot to mention our host site, The Galt House Hotel, which is one of the city’s most storied hotels.
It has been a long journey planning this conference, and we look forward to welcoming as many of you as possible to experience Louisville and the wonderful program our team has assembled for you.
21c Museum Hotel
Muhammad Ali Center
Historic Locust Grove
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A SPECIAL THANKS
SEMC Endowment Contributions
Many thanks to our recent 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 Zinnia Willits at 404.814.2048 or email@example.com
Anonymous, in honor of Graig Shaak
William Paul, Jr.
Heather Marie Wells
THE PAST PRESIDENTS CIRCLE
Members of the Past Presidents Circle contribute $150 annually for at least two years to the endowment fund:
Charles “Tom” Butler
Tamra Sindler Carboni
Micheal A. Hudson
Graig D. Shaak
Kristen Miller Zohn
THE WILLIAM T. AND SYLVIA F. ALDERSON ENDOWMENT FELLOWS
Thirty 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 them.
Platinum Alderson Fellows
Sylvia F. Alderson
Graig D. Shaak
Nancy & Robert Sullivan
Medallion Alderson Fellows
Tamra Sindler Carboni
William U. Eiland
Martha Battle Jackson
T. Patrick Brennan
W. James Burns
Michael Anne Lynn
R. Andrew Maass
Robin Seage Person
Michael Scott Warren
Heather Marie Wells
Kristen Miller Zohn
SEMC contributors at the 2022 annual meeting.
Other SEMC Contributions
ANNUAL MEETING TRAVEL SCHOLARSHIPS
Michael (Scott) Warren
Heather Marie Wells
Hutchinson Design Group
R. Andrew Maass
Heather Marie Wells
Gaylord & Dorothy Donnelley Foundation
Institute of Museum and Library Services
HANDUMY JEAN TAHAN
Joy Tahan Ruddell
Michael (Scott) Warren
VIRGINIA MUSEUM OF HISTORY & CULTURE 1220 EXHIBITS, INC. 615.333.1220 | 1220.COM
51 S T R A T E G I C P L A N N I N G A N D I M P L E M E N T A T I O N D E S I G N E D W I T H Y O U R O R G A N I Z A T I O N I N M I N D
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Heather Marie Wells
Association of African American Museums
MARTHA BATTLE JACKSON JIMI FUND
Heather Marie Wells
JEKYLL ISLAND MANAGEMENT INSTITUTE
National Museum of African American History and Culture-Office of Strategic Partnerships
Smithsonian Our Shared Future: Reckoning with Our Racial Past
Jekyll Island Authority
SEMC Active Memberships
SEMC thanks all our active members, including those who have recently joined (in bold). Without your support and participation, we could not provide region-wide services such as our 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. For information on memberships and benefits visit semcdirect.net, email firstname.lastname@example.org, or call 404.814.2047. For your convenience, the last page of this newsletter is a membership application.
Deborah Aronin, Durham, North Carolina
Phyllis Asztalos, Tallahassee, Florida
Dianna Bradley, Tallahassee, Florida
Jon Broadbooks, Cooperstown, New York
Sean Burke, Knoxville, Tennessee
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Jacob Coburn, Cullowhee, North Carolina
Kyndall Fairbanks, Apopka, Florida
Nathan Fleeson, Lawrenceville, Georgia
Anita Funston, Asheville, North Carolina
Evangeline Giaconia, Gainesville, Florida
Claudia Hawkins, Milledgeville, Georgia
Parker Hiley, Decatur, Georgia
Lilly Honea, New Hope, Alabama
Zoe Hume, Tallahassee, Florida
Melody Hunter-Pillion, Cary, North Carolina
Ivy Johnson, Gainesville, Georgia
Megan Keener, Merritt Island, Florida
Indira Lessington, Charleston, SC
Benjamin Malik, Acworth, Georgia
Rebecca Marine, Oak Grove, Kentucky
Madison McCormick, Elmira, West Virginia
Julia Mileski, Williamsburg, Virginia
Rachel Mohr, Tuscaloosa, Alabama
Grace Moorman, Athens, Georgia
Andrea Nero, Buffalo, New York
Samantha Oleschuk, New Hill, North Carolina
Suzanna Parker, Sparta, Georgia
Kaniah Pearson, Atlanta, Georgia
Sarah Robles, Murfreesboro, Tennessee
Corinne Roth, Milwaukee, WI
Jasmine Sears, Atlanta, Georgia
Apoorva Shah, Miramar, Florida
Thomas Strebeck, Columbia, SC
Megan Tewell, Johnson City, Tennessee
Eileen Tomczuk, New Orleans, Louisiana
Alyssa Watrous, Rome, Georgia
Diana Wilder, Jeffersonville, Indiana
Ashley Williams, Tallahassee, FL
Leila Withers, Atlanta, Georgia
Krishna Adams, Murfreesboro, Tennessee
Jess Alden, Atlanta, Georgia
Emilie Alfino, Sanibel, Florida
Nancy Allred, Cary, North Carolina
Jasmine Alvarado, Conyers, GA
Lauren Aristizabal, Bradenton, Florida
Becca Barnes, Cartersville, Georgia
Kathleen Barnett, Vicksburg, Mississippi
Amber Barnhardt, Athens, Georgia
Austin Bell, Marco Island, Florida
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Eboni Belton, Columbia, South Carolina
Rex Bennett, Cookeville, Tennessee
Victoria Berry, Stillwater, Oklahoma
Erin Blackledge, Brandon, Mississippi
Steven Blashfield, Richmond, Virginia
Maggie Bond, Lexington, Kentucky
Lori Boyer, New Orleans, Louisiana
Kathleen Boyle, Brentwood, Tennessee
Marcie Breffle, Atlanta GA
Amanda Briede, Louisville, Kentucky
Margaret Brown, Durham, North Carolina
Bridget Bryson, St Petersburg, Florida
Jenny Burney, St. Louis, Missouri
Rebecca Bush, Columbus, Georgia
Jayd Buteaux, New Iberia, Louisiana
Samantha Bynum, Paris, Arkansas
Madeline Calise, Melbourne, Florida
Colleen Callahan, Richmond, Virginia
Sharon Campbell, Travelers Rest, South Carolina
Danny Carroll, Newport News, Virginia
Staci Catron, Atlanta, Georgia
Maggie Claytor, Charleston, South Carolina
Brittany Cohill, Jacksonville, Florida
Schelly Corry, Pineville, Missouri
Leah Craig, Bowling Green, Kentucky
Matthew Davis, Gray, Georgia
Debra DeBolt, Pensacola, Florida
Dean DeBolt, Pensacola, Florida
Patty Dees, Cartersville, Georgia
Bartholomew Delcamp, Winter Haven, Florida
Kathryn Dixson, Atlanta, Georgia
James Draper, Merritt Island, Florida
Didi Dunphy, Athens, Georgia
Christian Edwards, Pittsboro, North Carolina
William Eiland, Athens, Georgia
Trudi Ellerman, Atlanta, Georgia
Linda Endersby, Lincoln, Nebraska
Siera Erazo, Charlotte, NC
Scott Erbes, Louisville, Kentucky
Lindsay Fairbrother-Henige, Waxhaw, North Carolina
Tyler Fasnacht, Buford, Georgia
J.R. Fennell, Lexington, South Carolina
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Jay Ferguson, Louisville, Kentucky
John Fields, Birmingham, Alabama
Marvin Fonseca, Guaynabo, Puerto Rico
Meghan Forest, Asheville, North Carolina
V. Taylor Foster, Louisville, Kentucky
Robin Gabriel, Georgetown, South Carolina
Brian Garrett, New York, NY
Brian Garrett, Atlanta Georgia
Rachel Gaudry, New Orleans, Louisiana
Glen Gentele, Orlando, Florida
Meghan Gerig, Sautee Nacoochee, Georgia
Hannah Gibbs, Lenoir, North Carolina
Mandy Gibson, Hendersonville, North Carolina
Rachel Gibson, Charlotte, Tennessee
Hermina Glass-Hill, Midway, Georgia
David Goist, Asheville, North Carolina
Bess Goldy, Louisville, Kentucky
Claudio Gomez, Knoxville, Tennessee
Cindy Green, Franklin, Tennessee
James Gregory, Baton Rouge, Louisiana
Kristi Grieve, Cartersville, Georgia
Carolyn Grosch, Asheville, North Carolina
Floyd Hall, College Park, Georgia
Dawn Hammatt, Abilene, Kansas
Natalie Hefter, Hilton Head Island, South Carolina
Bethany Hawkins, Nashville, Tennessee
LaQuinton Holliday, Meridian, Mississippi
Kelsey Horn, Golden, Mississippi
Michele Houck, Huntersville, North Carolina
Marion Hudson, Dallas, Georgia
Tiffany Hughes, Cartersville, Georgia
Kathleen Hutton, Winston-Salem, North Carolina
Marian Inabinett, High Point, North Carolina
Lynette Ivey, Kennesaw, Georgia
Emily Jones, Cleveland, Mississippi
Patricia Kahn, Sarasota, Florida
Diane Karlson, Little Rock, Arkansas
Ryan Kasley, St. Petersburg, Florida
Rachel Katz, Atlanta, Georgia
Martha Katz-Hyman, Newport News, Virginia
William Katzman, Livingston, Louisiana
Shane Keil, Jackson, Mississippi
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Marianne Kelsey, Greensboro, North Carolina
Kecia Kelso, Montgomery, Alabama
Valarie Kinkade, Fort Lauderdale, Florida
Glenn Klaus, Alexandria, Virginia
Adam Knight, Fort Myers, Florida
Lauren Kraut, Gainesville, Virginia
Anne Lampe, Baltimore, Maryland
Karol Lawson, Lynchburg, Virginia
William Lazenby, Chantilly, Virginia
Elise LeCompte, Gainesville, Florida
Carla Ledgerwood, Atlanta, Georgia
Calinda Lee, Atlanta, Georgia
Leslie Leonard, Raleigh, North Carolina
Anne Lewellen, Jacksonville, Florida
Cindy Lincoln, Raleigh, North Carolina
Lydia Lingerfelt, Cartersville, Georgia
Felise Llano, Tampa, Florida
Ellen Lofaro, Knoxville, Tennessee
Catherine Long, Cumming, Georgia
Rebekah Lopez-Farrer, Bentonville, Arkansas
Kate Macginnis, Atlanta, Georgia
Deborah Mack, Alexandria, Virginia
Darcie MacMahon, Gainesville, Florida
Ty Malugani, Birmingham, Alabama
Hannah Marley, McClellanville, South Carolina
Sylvia Marshall, Salisbury, North Carolina
Rosalind Martin, Knoxville, Tennessee
Mersia Martin, Woodstock, Georgia
Sarah Maske, Ellerbe, North Carolina
Kali Mason, Dallas, Texas
Tori Mason, Nashville, Tennessee
Mary Massie, Forest, Virginia
Maggie McAdams, Harrodsburg, Kentucky
Barbara McClendon, Jackson, Mississippi
Marion McGee, Washington, District of Columbia
Kimberly McKinnis, Norfolk, Virginia
Hilda McSween, Fort Pierce, Florida
Amberly Meli, Tallahassee, Florida
Katy Menne, Leland, North Carolina
Cindee Millard, Waco, Texas
Tricia Miller, Athens, Georgia
Kristin Miller-Zohn, Columbus, Georgia
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Kate Moore, Marietta, Georgia
Nicole Moore, Canton, Georgia
Stephanie Moore, Asheville, North Carolina
Kandace Muller, Luray, Virginia
Chris Munster, Greensboro, North Carolina
Brian Murphy, Florence, Alabama
La Ruchala Murphy, Columbia, South Carolina
Mary Anna Murphy, St. Petersburg, Florida
Michael Nagy, Atlanta, Georgia
Raka Nandi, Memphis, Tennessee
Kathy Neff, Greensboro, North Carolina
Amy Nelson, Lexington, Kentucky
Laura Nemmers, Gainesville, Florida
Ginny Newell, Columbia, South Carolina
Kimberly Novak, Alpharetta, Georgia
Heather Nowak, Fultondale, Alabama
Tara O’Boyle, South Salem, NY
Jessica O’Connor, Birmingham, Alabama
Jessica Ordonez, Oak Ridge, Tennessee
Lisa Ortega-Pol, San Juan Puerto Rico
Heather Otis, Marco Island, Florida
Lauren Pacheo, Greensboro, North Carolina
Yunice Patrick, Mableton, Georgia
Hannah Pennell, Pensacola, Florida
Susan Perry, Atlanta, Georgia
Robin Person, Natchez, Mississippi
Deborah Randolph, Raleigh, North Carolina
Mary Ann Redding, Boone, North Carolina
A.J. Rhodes, Arden, North Carolina
Tisha Rhodes, Montgomery, Alabama
Carolyn Rice, Clarkesville, Georgia
Jennifer Richardson, Cartersville, Georgia
Stephani Roohani, Evans, Georgia
Ashley Rust, Beech Island, South Carolina
Rachel Rydquist, St Petersburg, Florida
Mike Santrock, Hapeville, Georgia
Samantha Sauer, Jacksonville, Florida
Tory Schendel-Vyvoda, Evansville, Indiana
Tony Schnadelbach, Jackson, Mississippi
Michael Scott, Jekyll Island, Georgia
Marsha Semmel, Arlington, Virginia
Catherine Shteynberg, Knoxville, Tennessee
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Alan Shuptrine, Lookout Mountain, Tennessee
Christy Sinksen, Athens, Georgia
John Slemp, Tucker, Georgia
Annabelle Smith, Little Rock, Arkansas
Laura Smith, Huntsville, Alabama
Linda Smith, Columbia, South Carolina
Sarah Soleim, Wake Forest, North Carolina
Richard Spilman, Helena, Arkansas
Karen Sutton, Charlotte, North Carolina
Dorothy Svgdik, Cordova, Tennessee
Alice Taylor-Colbert, Greenwood, South Carolina
Kimberly Terbush, Greensboro, North Carolina
Sarah Tignor, Spartanburg, South Carolina
Courtney Toelle, St Petersburg, Florida
David Towry, Huntsville, Alabama
Deborah Van Horn, Lake Buena Vista, Florida
Maria Vann, Raleigh, North Carolina
Holly Wait, Columbus, Georgia
Heather Waldroup, Boone, North Carolina
Celia Walker, Nashville, Tennessee
John Wetenhall, Washington, District of Columbia
Liberty Wharton, Daytona Beach, Florida
Harvee White, Canton, Georgia
Jason Wiese, New Orleans, Louisiana
Crystal Wimer, Morgantown, West Virginia
Jennifer Wisniewski, Maumelle, Arkansas
John Woods, South Windsor, Connecticut
Felicia Abrams, Williamsburg, Virginia
George Bassi, Laurel Mississippi
Margaret Benjamin, Greensboro, North Carolina
Jamie Credle, Savannah, Georgia
Patrick Daily, Hickory, North Carolina
Jennifer Foster, Lexington, Kentucky
La Ruchala Murphy, Columbia, South Carolina
LeRoy Pettyjohn, Memphis, Tennessee
James Quint, Hammondsport, New York
Robin Reed, Fort Monroe, Virginia
Michelle Schulte, Baton Rouge, Louisiana
Sgt. Gary Spencer, Raleigh, North Carolina
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Auntaneshia Staveloz, Silver Spring, Maryland
John White Jr., Marietta, Georgia
Joshua Whitfield, Warner Robins, Georgia
Felton Eaddy, Fork, South Carolina
Lee Gabrielle, W Palm Beach, Florida
Sue Hiott, Central, South Carolina
Joyce Ice, Santa Fe, New Mexico
Martha Jackson, Raleigh, North Carolina
Mary Kay Klein, St. Petersburg, Florida
Vicky Kruckeberg, Chapel Hill, North Carolina
Annelies Mondi, Athens, Georgia
Jeanne Niccolls, Round Hill, Virginia
Douglas Noble, Gainesville, Florida
Carl Nold, Chapel Hill, North Carolina
William Paul, Jr., Athens Georgia
Georgia Pribanic, Jacksonville, Florida
Amy Pruitt, China Grove, North Carolina
James Shepp, Winter Park, Florida
Ida Tomlin, Meridian, Mississippi
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Altama Museum, Vidalia, Georgia
Appleton Museum of Art, Ocala, Florida
Arkansas National Guard Museum, North Little Rock, Arkansas
Art Center Sarasota, Sarasota, Florida
Bandy Heritage Center for Northwest Georgia, Dalton, Georgia
Berkeley County Museum, Moncks Corner, South Carolina
C. Williams Rush Museum of African-American Arts & Culture, Kingstree, South Carolina
Caldwell Heritage Museum, Lenoir, North Carolina
Calico Rock Community Foundation, Calico Rock, Arkansas
Cameron Art Museum, Wilmington, North Carolina
Carnegie Center for Art and History, New Albany, Indiana
Carter-Coile Country Doctors Museum, Winterville, Georgia
Clemson University, Clemson, South Carolina
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Clemson University’s Bob Campbell Geology Museum, Clemson, South Carolina
Creative Liberties Artist Studios & Galleries, Sarasota, Florida
Daura Gallery - University of Lynchburg, Lynchburg, Virginia
Doris Ulmann Galleries and Berea College Art Collection, Berea, Kentucky
Drayton Hall, Charleston, South Carolina
Dunedin Fine Art Center, Dunedin, Florida
Eleanor D. Wilson Museum at Hollins University, Roanoke, Virginia
Finger Lakes Boating Museum, Hammondsport, New York
Florida CraftArt, St. Petersburg, Florida
Fort Wayne Museum of Art, Fort Wayne, Indiana
Friends of Cassidy Park Museums, Bogalusa, Louisiana
Funk Heritage Center of Reinhardt University, Waleska, Georgia
Gaston County Museum of Art & History, Dallas, North Carolina
Gibbes Museum of Art, Charleston, South Carolina
Historic Augusta, Inc., Augusta, Georgia
Historic Cane Hill, Inc., Cane Hill, Arkansas
Historic Dumfries Virginia & The Weems-Botts Museum, Dumfries, Virginia
HistoryMiami, Miami, Florida
International Arts Center, Troy, Alabama
International Towing & Recovery Museum, Chattanooga, Tennessee
KMAC Museum, Louisville, Kentucky
Kentucky Native American Heritage Museum, Inc, Corbin, Kentucky
Lam Museum of Anthropology, Wake Forest University, Winston-Salem, North Carolina
Liberty County Historical Society, Hinesville, Georgia
Louisiana State University Textile & Costume Museum, Baton Rouge, Louisiana
Lowe Art Museum, University of Miami, Coral Gables, Florida
Maier Museum of Art, Randolph College, Lynchburg, Virginia
Mandarin Museum & Historical Society, Jacksonville, Florida
Marine Corps Museum Parris Island, Parris Island, South Carolina
Stop by and say howdy to Pamela if you are attending the SEMC Conference. If not, you can give her a hollar at (817) 541-9478 or email@example.com.
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Oglethorpe University Museum of Art (OUMA), Atlanta, Georgia
Ohr-O’Keefe Museum of Art, Biloxi, Mississippi
Patrick Henry Memorial Foundation, Brookneal, Virginia
Patriots Point Naval & Maritime Museum, Mount Pleasant, South Carolina
Posada Art Foundation, San Francisco, California
SC Confederate Relic Room & Museum, Columbia, South Carolina
Spotsylvania County Museum, Fredericksburg, Virginia
SQT Museum, Carrollton, Georgia
Swannanoa Valley Museum, Black Mountain, North Carolina
Tennessee River Museum, Savannah, Tennessee
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Virginia Museum of Transportation, Roanoke, Virginia
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Appalachian State University Turchin Center for the Visual Arts, Boone, North Carolina
Arkansas Air and Military Museum, Fayetteville, Arkansas
Arlington Historic House, Birmingham, Alabama
Art Museum of the University of Memphis (AMUM), Memphis, Tennessee
Attleboro Area Industrial Museum, Attleboro, Massachusetts
Bartow History Museum, Cartersville, Georgia
Beaches Museum, Jacksonville Beach, Florida
Bernard A. Zuckerman Museum of Art, Kennesaw, Georgia
Calhoun County Museum, St. Matthews, South Carolina
Carnegie Visual Arts Center, Decatur, Alabama
Charlotte Museum of History, Charlotte, North Carolina
Chieftains Museum/Major Ridge Home, Rome, Georgia
Clemson Area African American Museum, Clemson, South Carolina
Computer Museum of America, Roswell, Georgia
Dade Heritage Trust, Miami, Florida
East Tennessee Historical Society, Knoxville, Tennessee
Fort Smith Regional Art Museum, Fort Smith, Arkansas
Hampton University Museum, Hampton, Virginia
Hilliard Art Museum University of Louisiana at Lafayette, Lafayette, Louisiana
Historic Clayborn Temple, Memphis, Tennessee
Historic Natchez Foundation, Natchez, Mississippi
Historic Paris Bourbon County Hopewell Museum, Paris, Kentucky
Historic Tuscaloosa, Tuscaloosa, Alabama
Historical Foundation of Hillsborough and Orange County/Orange County Historical Museum, Hillsborough, North Carolina
Historical Society of Western Virginia, Roanoke, Virginia
Horry County Museum, Conway, South Carolina
International Museum of the Horse, Lexington, Kentucky
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Mennello Museum of American Art, Orlando, Florida
Morris Center for Lowcountry Heritage, Ridgeland, South Carolina
Mosaic Templars Cultural, Little Rock, Arkansas
Museum of the American Printing House for the Blind, Louisville, Kentucky
Museum of the Mississippi Delta, Greenwood, Mississippi
Museum of the Shenandoah Valley, Winchester, Virginia
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River Discovery Center, Paducah, Kentucky
Robert C. Williams Museum of Papermaking, Atlanta, Georgia
Salem Museum & Historical Society, Salem, Virginia
Savannah River Site Museum, Aiken, South Carolina
SCAD FASH Museum of Fashion + Film, Atlanta, Georgia
South Carolina Military Museum, Columbia, South Carolina
South Union Shaker Village, Auburn, Kentucky
Southern Poverty Law Center, Montgomery, Alabama
Spalding County Our Legacy Museum, Griffin, Georgia
Swope Art Museum, Terre Haute, Indiana
Tampa Baseball Museum at the Al Lopez House, Tampa, Florida
The Mitford Museum, Hudson, North Carolina
Thomas County Historical Society, Thomasville, Georgia
Thronateeska Heritage Foundation, Inc., Albany, Georgia
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Edisto Island Open Land Trust, Edisto Island, South Carolina
Gadsden Arts Center & Museum, Quincy, Florida
Gregg Museum of Art & Design, Raleigh, North Carolina
Henry B. Plant Museum, Tampa, Florida
Hickory Museum of Art, Hickory, North Carolina
Historic Oakland Foundation, Atlanta, Georgia
International African American Museum, Charleston, South Carolina
Knox Heritage & Historic Westwood, Knoxville, Tennessee
Liberty Hall Historic Site, Frankfort, Kentucky
Magnolia Mound Plantation, Baton Rouge, Louisiana
Marietta/Cobb Museum of Art, Marietta, Georgia
Middleton Place Foundation, Charleston, South Carolina
Museum Center at 5ive Points, Cleveland, Tennessee
North Carolina American Indian Heritage Commission, Raleigh, North Carolina
Old State House Museum, Little Rock, Arkansas
Spelman College, Atlanta, Georgia
Sumter County Museum, Sumter, South Carolina
Tuskegee Institute National Historic Site (National Park Service), Tuskegee Institute, Alabama
Virginia Museum of Contemporary Art, Virginia Beach, Virginia
Walter Anderson Museum of Art, Ocean Springs, Mississippi
Weatherspoon Art Museum UNCG, Greensboro, North Carolina
West Baton Rouge Museum, Port Allen, Louisiana
Western Carolina University, Cullowhee, North Carolina
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Baton Rouge Gallery - Center for Contemporary Art, Baton Rouge, Louisiana
Biblical History Center, LaGrange, Georgia
Blowing Rock Art & History Museum, Blowing Rock, North Carolina
Center for Puppetry Arts, Atlanta, Georgia
Children’s Hands on Museum, Tuscaloosa, Alabama
Cook Museum of Natural Science, Decatur, Alabama
David J. Sencer CDC Museum, Atlanta, Georgia
FSU Museum of Fine Arts, Tallahassee, Florida
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International Civil Rights Center & Museum, Greensboro, North Carolina
Lauren Rogers Museum of Art, Laurel, Mississippi
Leepa-Rattner Museum, Tarpon Springs, Florida
Longwood Center for the Visual Arts, Farmville, Virginia
Louisiana State University Museum of Art, Baton Rouge, Louisiana
Mississippi Agriculture and Forestry Museum, Jackson, Mississippi
Mosaic, Jekyll Island Museum, Jekyll Island, Georgia
Museo de Arte de Ponce, Ponce , Puerto Rico
Museum of Art – DeLand, DeLand, Florida
Museum of Contemporary Art North Miami, North Miami, Florida
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Office of Historic Alexandria, Alexandria, Virginia
Orange County Regional History Center, Orlando, Florida
Rogers Historical Museum, Rogers, Arkansas
Shiloh Museum of Ozark History, Springdale, Arkansas
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Torggler Fine Arts Center, Newport News, Virginia
Tubman Museum, Macon, Georgia
Upcountry History Museum- Furman University, Greenville, South Carolina
Virginia Beach History Museums, Virginia Beach, Virginia
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Asheville Art Museum, Asheville, North Carolina
Bechtler Museum of Modern Art, Charlotte, North Carolina
Belle Meade Historic Site & Winery, Nashville, Tennessee
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4 Facts Everyone Should Know
Americans gave $24.67 billion to arts institutions in 2022
Giving to the arts is one of the few areas that saw a real dollar last year: a growth of 2.9%
In the last 3 years (2020 2022), giving to the arts has grown by 21%, from $19.47 million in pandemic year 2020 to $24.67 million in 2022
At Alexander Haas, we start with today’s real world facts to help create a brighter future.
Sign up for our Museum Results Newsletter at www.fundraisingcounsel.com
Customized strategies for: Comprehensive, Capital, Endowment, Acquisition Campaigns, Campaign Strategy Studies, Advancement Assessments, Annual Fund, Major Gifts, Training for Curators, Volunteers and Development Staff
Data Source: Giving USA 2023, published by the Giving USA Foundation
Image credit: Alexander Haas is proud to provide counsel to The Columbus Museum (GA) for the Reimagining The Columbus Museum campaign. The expanded Museum, featuring a new Children ’s Gallery and Garden, opens its doors in 2024.
LET US HELP YOU PAINT A PICTURE OF FUNDRAISING SUCCESS
Jupiter Inlet Lighthouse & Museum, Jupiter, Florida
Kentucky Derby Museum, Louisville, Kentucky
Knoxville Museum of Art, Knoxville, Tennessee
Louisiana Art & Science Museum, Baton Rouge, Louisiana
Louisiana’s Old State Capitol, Baton Rouge, Louisiana
McClung Museum of Natural History and Culture, Knoxville TN
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Remembering and Celebrating GRAIG SHAAK
Long-time SEMC member and transformational SEMC leader, Graig Shaak passed away in June 2023. Graig spent a long and successful career as Associate Director at the Florida Museum of Natural History (FMNH). As a testament to his professional accomplishments and important role among the FMNH staff, The Graig D. Shaak Endowment was established in 2007 in his honor to support professional development and staff enrichment activities for museum personnel. Graig was a past President of SEMC (2003–2005), a driving force behind the creation of the SEMC endowment and will be remembered by so many for his passion for museums, camaraderie, and lively, fun spirit!
I only had the opportunity to “meet” Graig over email, but we had several spirited interchanges over the past few years about how to preserve SEMC history and celebrate and engage all those who spent long, successful careers dedicated to the betterment of the museum field and growth of our beloved professional organization. In my final interchange with him where we were considering a Zoom meet-up for SEMC “long-timers” his response was,
“I would be interested in a Zoom meeting. A requirement of all participants would be a glass of good wine beside the computer.”
Graig and Robin Person.
This is a project that I am dedicated to making a reality — I only wish I had more time with Graig to capture his memories.
For those who may not have known him personally, we asked several of his SEMC friends to share a few memories about Graig’s leadership and important legacy with the Southeastern Museums Conference. As the celebration of his life clearly states, “Graig Shaak was above all things, a GOOD MAN.”
In 2009, SEMC had a serious problem resulting from a breach of trust with a former employee. We had laid off all staff, closed our physical office, and the organization was being run by the Council. We had $40K of debt. To make things worse, the national economy was in a shambles and our member museums were struggling. It seemed like every other week a story hit the papers about malfeasance in the museum world. Former SEMC
President (2003–2005) Graig Shaak agreed to serve as interim Executive Director and offered the Florida Museum of Natural History as SEMC’s temporary home. For critical months, Graig provided his own reputation for trust and integrity that SEMC needed to weather the storm. People knew that if Graig Shaak trusted the Council, then it was going to be ok. Graig was the angel who lent us his own credibility and his institutional credibility for a critical period. We needed that help pretty badly and Graig held us up until we could walk on our own again. Graig could be tough when he needed to be and SEMC emerged from the crisis with better financial and endowment policies and hired Susan Perry soon afterwards. I’ll never forget that. Graig was always a champion for the Alderson Fund (endowment), the guy that passed the hat and the first to give — and always with a wry grin. We will all miss that smile.
Mike Hudson Executive Director, American Printing House for the Blind, Louisville Kentucky SEMC President 2012–2014
Graig and Kristen Miller Zohn.
There are so many Graig stories. As everyone knows, Graig was fond of “adult beverages” and usually after a mid-year Council meeting, he would suggest meeting in the hotel bar before going out to dinner. Once when in Norfolk, Virginia, we had just gotten our drinks and were seated in armchairs facing the door to wait for the rest of the gang when Charlton Heston walked in and went over to the bar which was about 10 feet away. I stared at him and then looked at Graig and whispered, “That’s Charlton Heston!” He frowned and said, “Who?” So, I whispered again, trying hard to enunciate without Mr. Heston overhearing. Graig said again, “Who?” When I whispered emphatically, “Moses!” He whipped his head around just as Mr. Heston walked by us with his Scotch and smiled at two dumbfounded people. The bartender confirmed he was indeed Charleton Heston and was in town appearing in a play with his wife.
At the SEMC annual meeting that same year, Robert Goulet was in town. Graig and I happened to be sitting side-by-side in the same Norfolk hotel bar when Mr. Goulet walked in and stopped. There was a bright light over the door and so he was in the spotlight. He literally stood there and posed. Graig and I looked at each other and burst into laughter.
In 1983 or 1984, Graig and I were roaming the streets of the French Quarter in New Orleans, and he wanted to go into a club. I passed, so he went in by himself, and I joined up with some other colleagues. He later told me that while he was sitting at the bar, all of a sudden, the lights went up and Clint Eastwood was filmed walking into the bar. (He was in town shooting “Tightrope,” and we’d seen him several times.) While the crew was getting set up for another shot, Mr. Eastwood came over to the bar and sat down beside Graig who offered to buy him a beer. Graig said they chatted until Mr. Eastwood finished his beer and then went back to filming. “Very nice guy,” he said.
Graig was probably most famous in Council meetings for going around with his hat out and taking up Council donations for the endowment fund as he gave his report. He even took IOUs written on paper napkins or whatever writing materials were available. No matter where he was, he would take IOUs from people. Thanks to Graig, SEMC has a very healthy endowment fund.
Martha Battle Jackson Chief Curator (retired), North Carolina Division of State Historic Sites, Raleigh, North Carolina
Jekyll Island Management Institute Founder/Administrator
Graig had the charisma and ability to gather different museum voices and personalities for the betterment of SEMC. He was strong enough to lead the organization through some tough times but, more importantly, did it with enthusiasm, humor, and a twinkle in his eye. Graig believed in the networking power of SEMC—he loved connecting people and museums and bringing people together. Wherever Graig was, there was the party! With that enthusiasm, also came his passion to build and grow the SEMC endowment fund. Every good cause needs a champion, and Graig was our champion for the endowment for many years. He established the path for other SEMC presidents to follow, and SEMC is the better for his leadership.
George Bassi Executive Director, Lauren Rogers Museum of Art, Laurel, Mississippi
SEMC President 2011–2012
Graig loved museums and especially loved the Southeastern Museums Conference. He worked at the Florida Museum of Natural History for 35 years as a geology curator and long-time associate director and served on the SEMC Council for 23 years in virtually every leadership role possible, including Council member, Treasurer, Vice President, President, and Past President. Upon his retirement in 2007, he received SEMC’s James R. Short Award and the Florida Association of Museum’s Lifetime Achievement Award. Graig is the reason I became engaged with SEMC, and he inspired countless other colleagues to do so as well. After retiring, he continued to be involved with SEMC and jumped in to serve as interim Executive Director in 2009 during a period of uncertainty and transition following an embezzlement
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scandal. During that time, the Florida Museum agreed to serve as SEMC headquarters and Director Doug Jones granted Graig office space and the help of his executive assistant, Sharon Thomas. Graig and Sharon worked tirelessly with the SEMC Council to pull off the conference and keep things running, literally saving the organization from financial ruin. Graig also started the SEMC endowment and passed the hat (literally) at every Council meeting, encouraging all to invest in the organization’s sustainability. His dedication to the success of SEMC and museums everywhere deserves tribute and reminds us of the value SEMC brings to what we as museum professionals aspire to every day.
Associate Director, Florida Museum of Natural History, Gainesville, Florida
SEMC President 2016–2018
I met Graig in the early 2000s, when I was SEMC’s Evaluation Chair, and he was President. I respected his calm and capable leadership during Council meetings and his passion for the endowment, and I enjoyed the hell out of partying with him at the evening events.
In 2005, he recruited me to serve as Vice President beginning the next year. Little did we know that my subsequent term as President would be such a wild ride—due to financial malfeasance by a staff person, we were forced to un-fund both of our staff positions. We desperately needed a volunteer to step in as an interim director, and because Graig had just retired as Associate Director of the Florida Museum of Natural History, I thought he might be willing and able to come to our aid. I called and jokingly asked him, “You got me into this mess, could you please help me get out of it?” He enthusiastically took on the role and did an amazing job of holding us together and keeping us in good humor as we got back on track. Later, we instituted the Past Presidents Circle, a program that asks our leaders to make an annual donation to the endowment. SEMC could not be as strong an organization as it is today without Graig’s extraordinary service. He was a truly joyous and generous person, and I miss him dearly.
Kristen Miller Zohn Curator of Collections and Exhibitions
Lauren Rogers Museum of Art Laurel, Mississippi
SEMC President 2008–2010
Graig and Robin Person.
INCLUSIVITY A Personal Journey
Mandie Creed , Founder and CEO A4A Designs, LLC
I have worked with museum technology for over 15 years and have always enjoyed visiting museums. When my son, Dylan, was born, I could not wait to share with him these places that inspire creativity, create curiosity about the world around us, and teach pivotal stories.
Unexpectedly, Dylan was born with challenges. He was diagnosed with epilepsy at birth and then with autism and ADHD in 2019. Visits to museums with him were not easy — sensory overload, too much content, loud and unexpected noises, no quiet spaces to help him calm down. The list goes on. Museums were not built for Dylan or for me anymore.
I eventually settled on taking him early in the morning because sensory-friendly days did not exist at that time. Out of my years of experience with museum technology, it was the first time I experienced museums as a caregiver for someone with a disability. Inclusion and accessibility were always discussed during meetings, but never seemed to be implemented successfully. Dylan’s autism diagnosis was a light bulb for me, and I set out to create something that would help him and others like him enjoy museums.
Access For All (A4A) was born out of a desire to help Dylan cope with his feelings and anxiety of the unknown. The A4A app helps people with autism, people who are blind or have low vision, and people who are deaf or hard of hearing navigate their surroundings. For people with autism, the A4A app uses tools that are commonly used in ABA therapy to help them interact with the world around them. We use social story videos and a color-coding system that warns visitors about excessive audio or lighting within an exhibit to demystify the unknown.
Dylan was my first test subject at the Falls of the Ohio Interpretive Center (a 2.5-mile drive from the SEMC Official Host Hotel, The Galt House Hotel), and the change in his behavior was remarkable! Prior to using the A4A app, he would run through the museum without looking at or interacting with any of the exhibits. With the app, he walked through the same museum, but was stopped at each exhibit by the app, which would vibrate at a new exhibit; he would then watch a short video of how he could interact with his surroundings. Now he was engaging with the exhibits, using touchscreen interactives, trying the mechanical levers, and even
Dylan Creed at the Falls of the Ohio Interpretive Center.
sitting and watching part of a show. It was phenomenal and heart-warming to watch. A cell phone, a device that many parents hate to love, pulled Dylan into the present via the app and allowed him to interact without anxiety.
Access For All is not just for people with autism. The A4A app provides audio descriptions of exhibit areas and media content for people who are blind, have low vision, or for people who prefer listening to content instead of reading. The app also supports people who are deaf or hard of hearing by providing captioning and
reinforced audio on their device (and through their hearing aids).
Seeing a museum come to life is an experience we have all seen up close. But seeing it through my son’s eyes showed me just how important inclusion is to all of us, even me. There is a whole segment of our population who is missing the joys of visiting museums because of lack of accommodation. So, let’s make inclusion a priority, and create experiences where everyone is welcome!
The Falls of the Ohio Interpretive Center.
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SET IN STONE Auburn Researchers Explore Art, History, and Story at the Jule Collins Smith Museum of Fine Art
Charlotte Tuggle , Director of News and Media, College of Liberal Art, Auburn University
Charlotte Hendrix , Director of Communications and External Relations, The Jule Collins Smith Museum of Fine Art at Auburn University
“Monuments and Myths: The America of Sculptors Augustus Saint-Gaudens and Daniel Chester French” kicked off a national tour at The Jule Collins Smith Museum of Fine Art at Auburn University in summer 2023, bringing the work of America’s premier Gilded Age sculptors to The Plains. Faculty and students from the College of Liberal Arts and College of Education created research-based projects to educate and engage visitors during the exhibition run at Auburn.
“Object Lab” is the museum’s ongoing hybrid gallery classroom linking Auburn’s collections and exhibitions to teaching and research across campus to develop multidisciplinary inquiry. This summer’s “Object Lab: What is a Monument?” connected faculty and students across campus to transform the space into a practicum exhibition.
Randi Evans, Manager of Public Practice and Community Partnerships for the museum, said the exhibition’s debut at Auburn presented an opportunity to draw on extensive research expertise to supplement its educational value.
Anomaly, 2023. Jordan Harmon. Students created maquettes and proposed new monuments. Harmon’s concept memorialized the life of German theologian Dietrich Bonhoeffer, an anti-Nazi dissident.
Photo: Mason Williams.
During the spring semester, Auburn students across four disciplines collaborated with The Jule Collins Smith Museum of Fine Art at Auburn University to explore themes related to the summer exhibition, Monuments and Myths: The America of Sculptors Augustus Saint-Gaudens and Daniel Chester French.
“This exhibition highlights the work of Saint-Gaudens and French, preeminent sculptors of the Gilded Age, and brings to the forefront questions of craftsmanship, historic memory and the role of art in public and civic life and the histories and stories we tell ourselves,” Evans said. “The exhibition attempts to both celebrate the artistry of Saint-Gaudens and French’s work while also highlighting issues of race, gender and labor, public grief and mourning, and the dominance and inheritance of Eurocentric values and aesthetics. To tackle these issues, we wanted to use a multidisciplinary approach.”
The work of Saint-Gaudens and French reflected America’s national identity between the Civil War and Great Depression, including Saint-Gaudens’s “Diana” at Madison Square Garden and French’s “Seated Abraham Lincoln” at the Lincoln Memorial. Beyond the monuments’ expert craftsmanship, stories of how the country negotiated its history and meaning are built into the artwork.
Associate Professor of History Elijah Gaddis studies the South’s spatial, material and cultural histories. His expertise includes the interplay of physical objects and complicated histories. At “Monuments and Myths,” he led his class in creating short, critical essays about monuments in Alabama.
“A lot of times, when we focus on monuments and especially all these bad monuments, there’s so much on origins,” Gaddis said. “If you’re opposed to monuments, say a Lost Cause monument, you’re often thinking about the moment that was put up and all the white supremacist ideology that gets tied to it, but then we don’t think about the accretion of meaning that goes on for generations and generations. These are living things we are interacting with and still have that meaning being put onto them.”
Monuments represent a narrative by creating dedicated space and conveying the importance of a figure, site,
museum planning. exhibit design.
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or ideology, often privileging one narrative over several complex experiences. Associate Professor of English Rose McLarney encouraged students to explore those themes through poetry, which blended their personal experience and collective causes around monuments.
“Even students who were writing about personal narratives were often talking about how the monuments made them feel,” McLarney said. “That was revealing to me, that maybe even before we were having a lot of public discourse about what these monuments in public spaces are doing to people, that we were aware of it at some level.” Beyond the sculptures on view, students also wrote about monuments in their communities.
Associate Professor of Art Kristen Tordella-Williams brought a sculpture class to the exhibition, where they discussed the controversy around monuments, the role art plays in national identity, and who is memorialized in a monument and why.
To fill in the gaps of history through the lens of monuments, Tordella-Williams’ students researched, proposed, and created maquettes celebrating marginalized communities and spaces.
“I wanted my students to be aware of how monuments can influence public narrative and community and to be conscious of that when they were proposing, creating one,” Tordella-Williams said. “It is partly to imagine what goes into producing a large-scale, monumentalsized sculpture. It is really good professional practice for them. It is also to get them confident and say, ‘your ideas are totally valid and really interesting.’”
Assistant Professor of Social Science Education Jesús Tirado tasked his class with creating an educational guide for upper-level elementary, middle, and high school students who visit the exhibit. The exercises in the guide encourage students to reflect and engage with the monuments by French and Saint-Gaudens and imagine monuments for the future.
Tirado said the guide is designed to engage students at the intersection of art, history, and meaning. “The monuments you find are also going to be the names you
Associate professor Kristen Tordella-Williams and her students met with Randi Evans, Manager of Public Practice and Community Partnerships to discuss objects from Auburn’s art collection as a part of their practicum for “Monuments and Myths.” Photo: Mason Williams.
find in our textbook,” Tirado said. “We spent a lot of time talking about going beyond what’s in the textbook, diving into primary sources, how do you structure that, how you get students to think about things, how do you then get them to inquire about the world around them.”
Following its stay at the Jule Collins Smith Museum of Fine Art, “Monuments and Myths” continues to tour around the country at venues including the Frist Art Museum in Nashville and the Michener Art Museum in Doylestown, Pennsylvania.
The accompanying education guide and scholarly projects by Auburn faculty and students enhance the visitor experience through research-based reflection on the importance of art, history, and story. Exhibitions change each semester, creating new avenues for research and active learning. The university art collection has more than 3,000 objects online at jcsm.
auburn.edu. Auburn faculty interested in partnering with the museum may contact Chris Molinski, director of education, engagement and learning, to discuss Object Lab.
Monuments and Myths: The America of Sculptors Augustus Saint-Gaudens and Daniel Chester French is co-organized by the American Federation of Arts, Chesterwood, a site of the National Trust for Historic Preservation, and the Saint-Gaudens Memorial in partnership with SaintGaudens National Historic Park. Major support for the accompanying publication has been provided by the Wyeth Foundation for American Art. Support for the exhibition and the publication has been provided by the Gladys Krieble Delmas Foundation.
Podcast link: https://jcsm.auburn.edu/the-jule -museum-podcast-episode-17-monuments/
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The SEMC Leadership Institute Returns in April 2024
When the Southeastern Museums Conference (SEMC) launched its inaugural Leadership Institute in November 2020 I felt exceedingly proud. Proud of the brave, motivated, and forward-thinking cohort who took a chance on this pilot program and trusted SEMC with important leadership training; proud to have an impressive, genuine, kind, and professional team of instructors (you really couldn’t ask for better,) proud to partner with the Association of African American Museums (AAAM) to pilot this new program focused on leadership training for staff of small and mid-sized institutions; and overwhelmingly proud of the many individuals who worked tirelessly to make the program happen. Even with a virtual pivot due to COVID-19, the Institute was a great success due to years of purposeful, planning, talented and dynamic faculty, generous and encouraging supporters and partners, and a dynamic cohort.
Institute faculty and SEMC staff and Council were encouraged to build on this positive momentum and in 2022 launched the Institute in person in partnership with the Association of African American Museums and continued support from the National Museum of African American History and Culture-Office of Strategic Partnerships. The program held at the Duke Mansion in Charlotte, North Carolina, offered sixteen mid-career museum professionals access to
a curriculum and faculty committed to empathetic, community-focused leadership for today’s changing world.
Once again, I find myself feeling proud and excited to announce that SEMC will offer the Leadership Institute again next year. The 2024 Leadership Institute: Leading for Today’s Challenges will be held at The Galt House Hotel in Louisville, Kentucky from April 7-12, 2024. We are pleased to renew the partnership with AAAM and bring back Robert Bull, Dr. Laura Morgan Roberts, and Marsha Semmel as the esteemed faculty.
About the Leadership Institute
This professional program focuses on developing inclusive future museum leaders who:
• Can identify and build on their existing personal strengths.
• Assess how to maximize these strengths internally in an organization and externally as part of a community.
• Identify methods to capitalize on their strengths and their environment to move an institution forward.
The Leadership Institute aims to cultivate a diverse cohort of museum professionals seeking a program to develop skills that will assist and empower them to be
inclusive, forward-thinking leaders of departments, organizations and boards and encourage purposeful connection and partnerships with the communities their organizations serve.
Institute sessions offer peer-to-peer learning and reflection as well as high-quality instruction and guidance from accomplished faculty in six areas:
• Reflecting Your Best Self
• Building Inclusive Cultures
• Strategic Communication and Thinking
• Leadership Challenges
• Adaptive Leadership
• Creating Your Best Self as an Organization (Boards, Governance, Fundraising)
A cohort of no more than twenty ensures a reflective, supportive Leadership experience with opportunities
to look both inward and outward, develop a strong network and inclusive leadership skills, and identify each individual’s best self in the process. Tuition for the 2024 Institute is $1,500 for SEMC and AAAM members and $1,600 for non-members. The application portal for the 2024 Leadership Institute is now open at: https://www.semcdirect.net/Leadership-Institute
Consider the opportunity, the possibility, the growth! If you have questions, please reach out. I would be happy to talk through the Leadership Institute experience and/ or connect you with our growing cohort of Institute alums.
Zinnia Willits SEMC Executive Director Leadership Institute Administrator email@example.com
Class of 2020.
IN THEIR OWN WORDS
Quotes from Leadership Institute Graduates
My organization will benefit from the communication skills I learned as well as the tactics for addressing change and handling conflict. I also look forward to helping evolve our board into a more engaged and helpful part of our organization.
My idea of what makes a good leader has changed. I think of a good leader less as a cold, suit stereotype and more as a personable, relatable, and kind person. I would like to both be that person for myself, for others, and to bring that perspective to the work I do.
I feel more empowered to be my authentic self at work. I think the power of “yet” reframed some of my ideas about what is possible for someone in a leadership position and encouraged me to make leadership positions my own rather than try to fit a prescribed mold.
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The South’s Most Elusive Artist Walter Inglis Anderson
elusive: something unreachable, that evades grasp, a concept that is hard to define or even identify.
The Walter Anderson Museum of Art (WAMA) is preparing to launch The South’s Most Elusive Artist: Walter Inglis Anderson, a traveling exhibition featuring 40 original works by the American artist, naturalist, and adventurer, Walter Inglis Anderson (1903–1965).
In this exhibition, visitors will experience jewel-toned watercolors, deftly sketched landscapes, abstractions and explorations of form, and examples of ceramics adorned with coastal birds and animals. The exhibition introduces the life of Walter Anderson through his artwork, imbued with the artist’s philosophies and his experiences exploring the Southern landscape over five decades.
In celebration of the Museum’s 30th Anniversary, a larger version of The South’s Most Elusive Artist was exhibited at the Walter Anderson Museum of Art in 2021. This exhibition demonstrated the artist’s awareness of form, use of color, and manipulation of space and shapes. Visitors of all artistic skills were enabled to understand and appreciate Walter Anderson’s use of artistic elements. This exhibition inspired the development of a smaller adaptation ideal for traveling and reaching wider audiences.
The South’s Most Elusive Artist is the product of several years of research, interviews with Anderson family members, and conversations with the public about the story of Walter Anderson. Thousands of people from
“I live and have my being in a world of space and forms which have color and shape. Consciousness of this means being alive.”
— Walter Inglis Anderson
Meghan Lyman , Curatorial Assistant, Walter Anderson Museum of Art, Ocean Springs, Mississippi
Walter Inglis Anderson, Pelicans on North Key, c. 1955 (detail). Watercolor on Paper. Gift of the Friends of Walter Anderson. WAMA Permanent Collection.
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Walter Inglis Anderson, Palmettos and Pines, c. 1955, Watercolor on Paper. Gift of the Friends of Walter Anderson. WAMA Permanent Collection
across the globe make a kind of “pilgrimage” to the Walter Anderson Museum of Art on the Gulf Coast of Mississippi to absorb the vision of Anderson and his interpretation of the region’s natural beauty. Guests are drawn by the universality of the artist’s imagery and the deftness of his artistic skill, communicating the rich environment of the Coast as it was viewed and lived by the artist. This traveling exhibition brings the story of Walter Anderson closer for those that may not be able to trek so far from home.
Mattie Codling, Deputy Director, and Chief Curator speaks on behalf of the exhibition and the inspiration behind its development:
We compiled this exhibition with the hope of sharing Anderson’s vision of the world with the greater Southeastern region. Although he is known locally to great acclaim, Anderson’s art continues to be an elusive presence outside the states of Mississippi and Louisiana. We felt that the philosophies of the artist and his desired connection to nature was one that needed to be shared beyond our walls. He writes, “In order to realize the beauty of humanity, we must first realize the beauty of nature.” With this ideal in mind, we hope that visitors to the exhibition are refreshed in their appreciation of their natural environment and what it communicates about our own humanity.
“Walter Anderson was a wholly unique and prodigious creator who does not fit neatly into any one category of art,” said Julian Rankin, Executive Director of the Walter Anderson Museum of Art. “He was as talented in watercolor as he was in printmaking, as deft an illustrator as he was a muralist.”
“The realization of form and space is through feeling. When I feel the beauty of a flower on the trunk of a tree, I am at one inducted into a world of three dimensions and have a sense of form which is opposite of artificial forms and conventions.”
— Walter Inglis Anderson
The South’s Most Elusive Artist: Walter Inglis Anderson is projected to travel over two years with the opportunity for an extension due to demand. The 40 works of
original art are drawn from the Walter Anderson Museum of Art’s Permanent Collection and that of the estate of Walter Anderson. The Michelson Museum of Art (Marshall, TX) will be the first to host the South’s Most Elusive Artist and it will be available for viewing in September and October 2023.
For more information and booking details contact Meghan Lyman at meghan@walterandersonmuseum. org or visit www.walterandersonmuseum.org/ smeatravelingexhibition
About the Walter Anderson Museum
WAMA opened in 1991 in historic Ocean Springs, MS, and is accredited by the American Alliance of Museums. WAMA’s mission is to empower lifelong curiosity and connection to the natural world through the art of Walter Anderson and kindred artists. WAMA is dedicated to the celebration of the works of Walter Inglis Anderson (1903–1965), American master; and to his brothers, Peter Anderson (1901–1984), master potter and founder of Shearwater Pottery; and James McConnell Anderson (1907–1998), noted painter and ceramist. Learn more at www.walterandersonmuseum.org.
About Walter Inglis Anderson
Walter Inglis Anderson (1903–1965) is lovingly referred to as the “South’s most elusive artist” and is one of the most compelling and singular American creators of the 20th century. During his lifetime, Anderson was private, sometimes secretive, seeking the solitude found in the barrier island wilderness just beyond the Mississippi Sound. Significantly, Walter Anderson left an almost complete record of himself as an artist, encapsulated within his coastal cottage in Ocean Springs, Mississippi. Artworks from his earliest childhood years through the last days of his life have been recorded in minute detail. With the study of each quick drawing or developed painting, viewers discover a piece of the artist, a man who struggled against the tides of human frailty and ultimately found transcendence in nature.
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