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INSIDE S E MC The Newsletter of the Southeastern Museums Conference

winter 2019 | www.semcdirecnet


ON THE COVER Detail of  Shards II, 1982, by Frank Stella, on view at the Knoxville Museum of Art. See page 59.

46 Executive Director’s Notes  Susan Perry 

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SAVE-THE-DATE: SEMC 2019 CHARLESTON 

The JIMI Class of 2019  

8

14

JIMI 2020: The Twentieth Anniversary  

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Curator’s Corner  Layered Landscapes: Architectural Heritage and   History in Miami’s Marginalized Communities   Jose R. Vazquez                        

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50 A Special Thanks   Endowment and Membership Contributions 

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 Congratulations 44 Exhibitions 46 People and Places 60 What’s Happening 62  SEMC Job Forum 63 Get Social with SEMC 63 Important Dates 64 Membership Form 65  


semc Alabama Arkansas Florida Georgia Kentucky Louisiana Mississippi

North Carolina South Carolina Tennessee Virginia West Virginia U.S. Virgin Islands Puerto Rico

staff Susan S. Perry  Executive Director John Witek  Manager of Communications  and Member Services

semc officers Zinnia Willits President zwillits@gibbesmuseum.org Dir. of Collections & Operations,  Gibbes Museum of Art, Charleston, SC

Heather Marie Wells Vice President heathermarie.wells@crystalbridges.org Digital Media Project Manager, Crystal Bridges  Museum of American Art, Bentonville, AR

contact semc SEMC | P.O. Box 550746 Atlanta, GA 30355-3246 T: 404.814.2048 or 404.814.2047 F: 404.814.2031 W: www.SEMCdirect.net E: membershipservices@SEMCdirect.net

Deitrah J. Taylor Secretary dtaylorhistorian@gmail.com  Milledgeville, GA

Robin Reed Treasurer

Inside SEMC is published three times a year by SEMC. Annual subscription is included in membership dues. Design: Nathan Moehlmann, Goosepen Studio & Press

rreed@fmauthority.com Director, Casemate Museum,  Fort Monroe, VA

Darcie MacMahon Past President  dmacmahon@flmnh.ufl.edu Director of Exhibits & Public Programs, Florida  Museum of Natural History, Gainesville, FL

The deadline for the Spring/ Summer 2019 newsletter is May 24, 2019. To submit information for the newsletter, please contact the Council Director in your state or John Witek, SEMC Manager of Communications and Museum Services: jwitek@semcdirect.net.

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semc directors Glenna Barlow 

Elise LeCompte

gbarlow@columbiamuseum.org

lecompte@flmnh.ufl.edu

Manager of Education,

Registrar & Asst. Dept. Chair,

 Columbia Museum, Columbia, SC

 Florida Museum of Natural History,  Gainesville, FL

Alexander Benitez

Calinda Lee 

avbenitez@ua.edu

clee2@atlantahistorycenter.com

Director, Moundville Archaeological Park,

Vice President of Historical Interpretation

 The University of Alabama,

 and Community Partnerships,

 Moundville, AL

 Atlanta History Center, Atlanta, GA

Pody Gay

Deborah Mack 

pgay@museumofdiscovery.org

mackdlynn@si.edu

Director, Discovery Network

Assoc. Dir. Office of Strategic Partnerships

 Museum of Discovery, Little Rock, AR

 Smithsonian’s National Museum of African  American History and Culture, Wash., D.C.

Julie Harris

Rosalind Martin

jharris@riverdiscoverycenter.org

rmartin@knoxart.org

Executive Director, River Discovery

Director of Education, Knoxville Museum

 Center, Paducah, KY

 of Art, Knoxville, TN

Brian Hicks

Catherine M. Pears

 Hernando, MS

cpears@lsua.edu Executive Director, Alexandria Museum  of Art Alexandria, LA

Michael Scott  Scott.Michael@gmail.com Park Manager, Redcliffe Plantation State  Historic Site, Beech, SC

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Training January 27 – February 2 at James Island County Park in Charleston. The training was offered exclusively to individual members of AAAM and SEMC. Ten SEMC members, who participated in the workshop, will present the impact of this training at SEMC 2019 Annual Meeting. The workshop offered resources and provided training related to interpretation. The program additionally addressed the need for greater diversity in the field of interpretation.

executive director’s notes In 2019 SEMC will complete our three-year IMPACT Plan and look forward with plans for 2020–2023. Has SEMC served your professional needs in Honing Our Craft, Inclusion, Annual Gatherings, Leadership, Technology, and Marketing/Communication? Let us know how SEMC may be relevant and meet your future needs. This past month I have witnessed the power of the museum network to give back to colleagues in professional training and reach out to serve our communities. The 19th Annual Jekyll Island Management Institute (JIMI) demonstrated the impact of museum professionals sharing their expertise to develop new museum leaders. JIMI graduates and faculty as well as museum organizations and companies contributed 12 scholarships. Thanks to the generosity of the Smithsonian’s National Museum of African American History and Culture (NMAAHC), SEMC offered for the John Kinard Scholarship for two staff members of Association of African American Museums (AAAM) institutional museums to attend JIMI. The impact of these scholarships is the inclusion and development of more diverse museum leaders. The Smithsonian Institution, National Museum of African American History and Culture (NMAAHC), in partnership with Charleston County Park and Recreation Commission (CCPRC) and the National Association for Interpretation (NAI) offered Interpretation of African American History and Culture

This year SEMC will partner with AAAM to plan a new Leadership Institute clearly focused on leadership training for staff, volunteers, and boards of smalland mid-sized museums. The project will equip a new generation of museum leaders with outward-looking skills and stratagems that increase their effectiveness as leaders and their ability to create a productive and inclusive environment within the museum and among the museum’s board. SEMC Equity and Inclusion Action Team seeks to “breakdown actual and perceived barriers that inhibit access to our institutions, and guide museums toward inclusive and equitable practices for marginalized and disenfranchised people.” They have recently conducted research to learn more about our strengths and shortcomings within the areas of diversity, equity, accessibility, and inclusion (DEAI). “Transforming Myths” at SEMC 2019 Annual Meeting will offer a new historic perspective and untold stories of Charleston. SEMC annual meeting is an opportunity to convene innovative thinkers to envision new museum audiences, diverse community engagement, courageous conversations, inclusive museum boards, and fundraising resources. Plan to attend SEMC 2019 Charleston, October 21–23. Let’s move forward to strengthen SEMC’s impact by growing a diverse SEMC membership, developing more content, and providing more learning opportunities for future museum leaders. Check out SEMC’s website (www.SEMCdirect.net) for more details upcoming events and encourage your institution and colleagues to join the SEMC museum network. — Susan Perry, SEMC Executive Director 7


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JIMI GRADUATES 2019 14


JIMI 2019 Class l-r: Nancy Fields, Museum Director, Museum of the Southeast American Indian, Pembroke, NC; Anna Gospodinovich, Registrar, Mississippi Armed Forces Museum, Camp Shelby, MS; Theo M. Moore II, Collections Manager/Educator, The Legacy Museum, Tuskegee University, Tuskegee, AL; Jennifer Rouse, Site Administrator, Old Fort Jackson, Coastal Heritage Society, Savannah, GA; Catherine Shteynberg, Assistant Director/ Curator of Arts & Culture Collections, McClung Museum of Natural History & Culture, Knoxville, TN; Heather McPherson, Curator of History, South Carolina Military Museum, Columbia, SC; Hobart Douglas Akin, Cultural Resources and Exhibit Specialist, Tennessee State Parks, William R. Snodgrass, Tennessee Tower, Nashville, TN; Melissa Buchanan, Collections Curator, Patriots Point Naval & Maritime Museum, Mount Pleasant, SC; Julian Rankin, Executive Director, Walter Anderson Museum of Art, Ocean Springs, MS; Loran Berg, Collections Manager, Mountain Heritage Center, Western Carolina University, Cullowhee, NC; Michelle Lanier, Director, North Carolina State Historic Sites, Raleigh, NC; Julie C. Lohnes, Director and Curator of Art Collections and Exhibitions, Union College, Schenectady, NY; Alexandrea Cattanea Pizza, Assistant Director, Gaston County Museum of Art & History, Dallas, NC; Ellen M. Lofaro, Curator of Archaeology Collections, University of Tennessee, Knoxville, TN; Ginsie Higgs, Assistant Director, Discovery Network, Museum of Discovery, Little Rock, AR; Alexys J. Taylor, Collections & Exhibitions Manager, Harvey B. Gantt Center for African-American Arts + Culture, Charlotte, NC.

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Dietrah Taylor passes the hat at the JIMI Luncheon, Jackson, 2018.

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JIMI 2020

THE TWENTIETH ANNIVERSARY At the time this article was initially written in late December, preparations for the 19th Jekyll Island Management Institute (JIMI) were well underway. While most sessions will take place again in the beautiful Villa Ospo, operated by our host, the Jekyll Island Museum and Historic Preservation, our host hotel for the first time will be the historic Jekyll Island Club Hotel. The awards banquet will move to the Library in Crane Courtyard for only the second time in JIMI’s history. To hold tuition costs down, class sizes had gradually increased from 16 to 20, creating somewhat overcrowded conditions. This year, the SEMC Council generously voted to allow all profit to be carried forward and used for JIMI 2019, thereby reducing the class size to the ideal number of 16. Fundraising next year will begin in earnest; however, passing the hat at the JIMI reunion luncheon at the SEMC annual meeting in Jackson, MS and an email plea raised $695 in sponsorships by alumni and faculty. Special thanks to George Bassi (faculty), Mary Agnes Beach (JIMI 2001), Austin Bell (JIMI 2018), Mary Durusau (JIMI 2011), John Fields (JIMI 2018), Pody Gay (JIMI 2012), Mary Hauser (JIMI 2012), Joshua Heuman (JIMI 2014), Jolie Johnson (JIMI 2018), Elise LeCompte (JIMI 2006), Gloria Sanders (JIMI 2017), Sgt. Gary Spencer (JIMI 2016), Beth Thompson (JIMI 2018), Sarah Tignor (JIMI 2014), and Scott Warren (JIMI 2011) for their support! This year, for the first time ever, there were enough scholarships for all who requested assistance! Gaylord Archival, John and Cynthia Lancaster, the

Smithsonian Institution’s National Museum of African American History and Culture (NMAAHC), and the South Carolina Military Museum (The Col. Ewell “Buddy” Sturgis Memorial Scholarship) have once again sponsored full tuition scholarships. The NMAAHC also provided a travel stipend. This year, former SEMC Membership Coordinator, Mary Miller, also provided a donation for a full scholarship. Six of the region’s state associations also provide JIMI support for their members. The Arkansas Museums Association and the South Carolina Federation of Museums provide a full tuition scholarship as well as a travel stipend. The Alabama Museums Association, Mississippi Museums Association, and the North Carolina Museums Council provide a tuition scholarship. In addition, we gratefully acknowledge North Carolina State Historic Sites for its in-kind donation of services, Nathan Moehlmann (JIMI 2006) of Goosepen Studio and Press for producing the JIMI Jabberwocky, the alumni newsletter; Shelly Redd (JIMI 2008) of the Tellus Science Museum in Cartersville, GA for redesigning the JIMI brochure, and last but not least, the incredible SEMC staff of Susan Perry and John Witek for their recordkeeping, fiduciary advice, and deadline reminders. It truly takes a HUGE village to produce this amazing program, affectionately known as “JIMI.” — Martha Battle Jackson, JIMI Adminstrator and Chief Curator Division of State Historic Sites and Properties, NC Dept. of Natural and Cultural Resources 17


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CURATOR ’S COR N ER Jose R. Vazquez, M. Arch., Associate Professor, Senior School of Architecture, Miami Dade College

LAYERED LANDSCAPES

Architectural Heritage and History in Miami’s Marginalized Communities

D

uring the past decade and half, I have pursued collaborative opportunities between Miami Dade College and local museums. In partnership with History Miami the historical museum of South Florida , I organized a series of exhibitions centered on Miami’s significant and threatened architectural heritage. The learning opportunities offered by such cross institutional collaboration has substantively contributed to enhance my pedagogy and curriculum. Increasingly the 21st century museum has become an ecological environment no longer mediated by specialists but reimagined by its audiences. I have noticed the emergence of this new paradigm locally, as local museums aim to engage diverse Miami’s communities. Initiatives such as the Perez Art Museum Miami (PAMM) Inside/Out have brought the art to the public-at-large in the form of reproductions of selected artworks from its collection to diverse communities throughout Miami-Dade 21


County. Higher education institutions and museums have been advancing collaborative models that are socially conscious, engaged and inclusive. I do believe that museums will have to continue to engage public education institutions, from grade schools to college, in order to develop a new “museum generation.”

C

ultural historian Robert Z. Melnik has remarked that “there are many truths in any landscape,” and this statement succinctly captures my teaching objectives as I aim to find some those “truths” on the layered places that make up the diverse heritage landscapes across Miami-Dade County. Consequently, issues related to architectural heritage, memory, economic mobility, and immigration have become increasingly important in my classroom assignments, projects,

and exhibitions. To address some of these issues I have organized service learning projects in the form of architectural fieldwork projects which have facilitated memorable pedagogical experiences. Getting students involved in the study of South Florida’s built environment has amplified their understanding of our local history and building traditions while developing and instilling a culture of civic responsibility. Their enthusiasm and appreciation has been palpable as the learning experience transcends the traditional classroom experience. I am confident such pedagogical approach will contribute to advance their learning and help them achieve their professional advancement as many of them are considered “at-risk” by my college. As a curator I have found opportunities to address issues of local and worldwide concerns in ways 22


that are relevant to my student’s diverse cultural backgrounds and cognitive experiences. This has led me to research the architectural heritage and history of some marginalized communities in Miami. The development of service learning projects has enabled my students to acquire an understanding of design as an expression of a dynamic exchange involving civic commitment. These fieldwork projects have culminated in two museum exhibitions, Miami Bungalows and Opa Locka Mirage City, and involved several architecture courses over the course of several years, from the initial surveys to the final exhibition. They were truly collaborative assignments as the work of each group served as the basis for subsequent assignments.

L

ast year we visited and conducted a preliminary research on the communities of Little Haiti and “Village West,” one of South Florida’s earliest communities established by Bahamians immigrants in Coconut Grove, with the aim to familiarize my students with the history and issues facing these places. Places that any of my students have ever visited or knew about. These visits served as catalyst for the planning of a future exhibition focusing on South Florida’s vernacular architectural traditions. This academic term we will be conducting a building survey of the Georgette’s Tea Room, a house located at 2540 N.W. 51st street in Brownsville, a

segregated African American community in Miami originally known as Colored Town. Between the 1940s and 1950s, Ms. Georgette Scott Campbell’s house served as a popular venue for entertaining Miami’s black community and hosted famous African-American performers, which at the time were not allowed to lodge in Miami Beach. Personalities such as Billie Holliday and Nat “King” Cole were among those staying at Georgette’s house. The house now empty, is expected to be designated as historic structure in the coming months and renovated as a cultural center/museum.

I

have focused on underserved communities because as in many places throughout the U.S., but especially in Miami, the accelerated pace of real estate development is adversely impacting the preservation of American cultural heritage landscapes. As educator my overarching interest has been to nurture a new generation of activists to work on the preservation of our heritage. The collaborative endeavors I have undertaken with the support of museums like History/Miami has served turning point on my career as I seek to facilitate new understandings regarding our history and identity. At the heart of my assignments is the recognition that landscapes, natural and man-made, are us. These are often in-between places “filled with the past” but still actively re-framing our present. 23


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A  SPECIAL THANKS SEMC Endowment Contributions 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 sperry@semcdirect.net. William Eiland (in memory of Justin  Rabideau and Andrew Ladis) Sara Elliott Kathryn Lang Darcie MacMahon Keith Post Robin Reed James Shepp Kristen Miller Zohn

THE PAST PRESIDENTS CIRCLE Members of the Past Presidents Circle contribute $150 annually for at least two years to the endowment fund: George Bassi Sharon Bennett David Butler Tom Butler Tamra Sindler Carboni Micheal A. Hudson Douglas Noble Robert Rathburn Graig D. Shaak Robert Sullivan Kristin 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  (minimum $5,000) Sylvia F. Alderson

Bob Rathburn Graig D. Shaak Nancy & Robert Sullivan Medallion Alderson Fellows  (minimum $2,500) George Bassi Sharon Bennett David Butler Tamra Sindler Carboni William U. Eiland Martha Battle Jackson Pamela Meister Richard Waterhouse Our Current Alderson Fellows  (minimum $1,000) T. Patrick Brennan Michael Brothers W. James Burns Horace Harmon Brian Hicks Pamela Hisey Micheal Hudson Rick Jackson Andrew Ladis Elise LeCompte Allyn Lord Michael Anne Lynn R. Andrew Maass Darcie MacMahon Robin Seage Person Allison Reid Steve Rucker Kristin Miller Zohn 29


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. Elise LeCompte

Andrew Stout [Annual Meeting] Beth Thompson [JIMI] Dena Thurmond [JIMI] Sarah Tignor [JIMI] Carole L. Wharton [Leadership Institute] Zinnia Willits [Leadership Institute] John Woods [Annual Meeting]

Other SEMC Contributions

New or Renewal Memberships Received

Glenna Barlow [Leadership Institute] David Butler [Leadership Institute] Ashlyn Christman-McCarty [JIMI] Shelby Henderson [JIMI] Jolie Johnson [JIMI] Elise LeCompte [Leadership Institute] Calinda Lee [Leadership Institute] Deborah Mack [Leadership Institute] Robert Rathburn [JIMI 20th Anniversary]

SEMC thanks those who have renewed or joined our organization for the first time between November 1, 2018, and January 31, 2019. Without your 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. To learn more about SEMC memberships

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Ista Clarke, North Charleston, South Carolina Abbie Edens, Kenner, Louisiana Matthew Edwards, Mount Airy, North Carolina Erika Fox, Charleston, South Carolina Courtney Gardner, Newport News, Virginia David Goist, Asheville, North Carolina Chris Goodlett, Louisville, Kentucky Melissa Hanson, Aiken, South Carolina Mary Hauser, Raleigh, North Carolina Kathleen Horton, Jacksonville, Florida Juliette Ibelli, Fort Myers, Florida Marian Inabinett, High Point, North Carolina Linda Jacobson, Durham, North Carolina Tracy Kennan, New Orleans, Louisiana Lindsey Lambert, Randleman, North Carolina Sonya Laney, Greensboro, North Carolina Elise LeCompte, Gainesville, Florida Cindy Lincoln, Raleigh, North Carolina Annelies Mondi, Athens, Georgia Melissa Mullins, Hampton, Virginia Kathleen Pate, Pine Bluff, Arkansas Sharon Pekrul, Columbia, South Carolina

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congratulations

Marco Island Historical Society’s award-winning exhibit Paradise Found: 6,000 Years of People on Marco Island.

FLORIDA The Marco Island Historical Society (MIHS), in partnership with Collier County Museums, is pleased to announce the completion of an overhaul to its award-winning exhibit Paradise Found: 6,000 Years of People on Marco Island at the Marco Island Historical

Museum. The exhibit, which opened to the public on January 26, 2019, now features several prominent artifacts on loan, including the world-famous Key Marco Cat from the Smithsonian Institution’s National Museum of Natural History, as well as numerous new enhancements and interactive elements. In 2015, the exhibit was recognized by the Florida 44


Association of Museums with its Museum Excellence Award. With the help of Creative Arts Unlimited, Inc., the MIHS renovated the exhibit in 2018 in advance of major artifact loans, marking another milestone in the young museum’s history: the successful completion of its three long-term exhibit galleries. The spectacular loan artifacts, including the Key Marco Cat

and several each from the University of Pennsylvania, Museum of Archaeology and Anthropology and the Florida Museum of Natural History, will be on display until April 2021. They are some of the best surviving examples of the artistry and complexity of Florida’s pre-Columbian Native American people, including the Calusa of Southwest Florida. 45


exhibitions

Home: Where I Live, an exhibtion at the Wiregrass Museum of Art.

ALABAMA The Wiregrass Museum of Art is pleased to announce the opening of Home: Where I Live, which explores the unique perspective of Dothan and Wiregrass area citizens that are either homeless or housing insecure. Artists were each given a disposable camera in order to capture scenes in their everyday lives — streetscapes, community organizations, abandoned properties, and their community. What resulted is an intimate look at both the hardships that these artists face, as well as the bright moments they find — whether that be an

organization that might help them find food or shelter or in the friendship they share with a neighbor. ¶ The exhibition was organized by the Wiregrass Museum of Art in partnership with The Harbor, a mission in downtown Dothan that serves people in need. ¶ “Our role in this project is to provide a platform that enables our community members and community organizations to share their stories. I like to remind people that art is more than an object; it can be an important tool for awareness and dialogue. Not only is this exhibition a visual representation of the struggles that some of our neighbors face, but I think it also serves to highlight how 46


Home: Where I Live, an exhibtion at the Wiregrass Museum of Art.

creative our community is,” said Dana-Marie Lemmer, director and curator of the Wiregrass Museum of Art. ¶ The exhibition, inspired by Through Our Eyes, a project that originated in Spartanburg, South Carolina, serves to shine a light on the growing number of people that find themselves without a place to call their own. These photos represent what home looks like to them. Harbor volunteers also worked with children they serve to paint their own representations of home. The paintings will be on display along with the photos in WMA’s Main Gallery. ¶ “It is empowering for those who are underserved in our community to have a voice and a validation of

what home looks like for them, which is vastly different than most people’s ideas of home — both in the artistic photographs that the adults took, as well as the paintings that the children made. Across the board, home meant something very, very different than what most people would think of home,” said the Reverend Kody Kirchhoff, executive director of The Harbor. ¶ Kirchhoff believes the Home exhibition is a chance for the Wiregrass community to consider the perspectives of all who call Dothan home, validating the experiences of everyone no matter their circumstances. ¶ “I think it will change the way that people view home. And my 47


At the Mennello Museum of American Art, Lawrence Lebduska, Self Portrait, Asleep with Creatures, 1943, oil on canvas. Courtesy of Fenimore Art Museum, Cooperstown, New York, Museum Purchase, N0012.2000. Photo by Richard Walker.

hope is that it can be this uniting piece that home means very different things, but we all have a voice in what it means to us.”

FLORIDA The Mennello Museum of American Art is pleased to announce The Unbridled Paintings of Lawrence Lebduska. This exhibition will be on view at the Mennello Museum from January 25 through May 12, 2019. ¶ This exhibition presents the rare opportunity to experience

the notable paintings of Lawrence Lebduska, one of the most popular modern folk-art painters of 1930s America. Lebduska’s dreamlands and invented gardens teem extraordinarily with life and optimism in a nostalgic, uncorrupted style that captured the admiration of the American public. These intrinsically painted Edens propelled the artist and his work to celebrity among galleries, collectors, and museums during the rise of the avant-garde movement taking hold of the art world in New York and abroad. ¶ Shannon Fitzgerald, Mennello Museum Executive Director, states, “I am delighted to be sharing the wonderful world of Lawrence Lebduska 48


At the Mennello Museum of American Art Lawrence Lebduska, Landscape with Horses, 1934. Collection of the Mennello Museum of American Art.

with our audiences. Especially in a time of conflict, Lebduska takes us away to magical spaces full of respite and folly, harmony and nature. This exhibition revisits Lebduska’s remarkable place in art history, at a time when ‘self-taught’ was not even considered a term in the art market, and in that way, the artist’s work was radical — how exciting is that?” ¶ Lebduska earned his first solo show in 1936 at the Contemporary Gallery in New York City nearly selling out his works, a show thought to have ignited Abby Aldrich Rockefeller’s passion for collecting folk art. Lebduska was also included in the famed 1938 exhibition Masters of Popular Painting shown

at the Museum of Modern Art, which included his piece Bohemian Kitchen (1936, oil on board. Collection of Carl and Marian Mullis), showing once more to the public for this exhibition. ¶ Lebduska was an outsider artist who navigated the intensifying New York art scene without the academic training and institutional tenure of his contemporaries. Born in Baltimore in 1894, Lebduska was raised in Germany and trained as a stained-glass artist in Bohemia. He harnessed his skills as an artisan, translating these methods of formal expression through lively color fields to create the characteristic scenes and figures of his paintings. Lebduska’s creations 49


reveal a smart and personal reaction to the art world during the 1930s through 1960s, exploring themes of life as an artist, art movements, and the allure exotic animals. ¶ Lebduska’s dreamscapes favor peaceful visions of a world abundant with flowers and a menagerie of exotic animals, though some allude to lower points of the World Wars and the Great Depression. He is most often compared to the “wild beast,” French Fauve, Henri Rousseau. Like Rousseau, Lebduska did not confine his work and depictions to places he had ventured. Rather, Lebduska pulled inspiration from the mysterious lands shown in the magazines of his patrons, the veracity of foreign animals of the zoo, and the ideal spaces where he wished to spend his life. ¶ The Unbridled Paintings of Lawrence Lebduska is curated by Katherine Navarro, Marilyn L. Mennello Associate Curator of Education. The Mennello Museum is thrilled to present paintings from the collections of the Smithsonian American Art Museum, the Albright-Knox Art Gallery, the Fenimore Museum, Gallerie St. Etienne, as well as those from our permanent collection, and the private collections of Michael A. Mennello, Anne Cochran Grey, PhD, Mary L. Demetree, Josh Feldstein, and Carl and Marian Mullis. Lebduska’s work can also be found in the collections of the Museum of Modern Art, The Hirshhorn Museum and Sculpture Garden, the Milwaukee Museum of Art, the Walker Art Center, and the Metropolitan Museum of Art among others. A full-color catalog will accompany the exhibition with essays by Mehna HerdersReach and curator Katherine Navarro. Beginning in February 2020, the Polk Museum of Art at Florida Southern College is excited to present Music & Dance in Painting of the Dutch Golden Age, a unique exhibition organized by the Hoogsteder Museum Foundation specifically for the Polk Museum in consultation with our curatorial team. ¶ Consisting of 28 privately-owned masterworks from European collections, all on the themes of music and dance as represented in art of the 17th and early 18th centuries in the Netherlands, the exhibition will travel directly to us from The Hague and then be available to continue to multiple venues beginning in June 2020. ¶ The turnkey exhibition is all-inclusive, with interpretive copy and wall text, image rights, and is scalable to as many as 35 works.

GEORGIA On February 22, 2019, Atlanta History Center opens Cyclorama: The Big Picture, featuring the fully restored cyclorama painting, The Battle of Atlanta. At the centerpiece of this new multimedia experience is a 132-year-old hand-painted work of art that stands 49 feet tall, is longer than a football field, and weighs 10,000 pounds. This painting is one of only two cycloramas in the United States – the other being The Battle of Gettysburg cyclorama – making Atlanta home to one of America’s largest historic treasures. ¶ In the 1880s, the gigantic Battle of Atlanta cyclorama painting was an immersive experience – the equivalent of virtual reality today. The painting is a full-color, threedimensional illusion designed to transport the viewer onto the battlefield. Cycloramas were created as a form of entertainment. The painting was a visual story about the 1864 Battle of Atlanta, but over time it has evolved into a significant artifact that has its own fascinating story. Now, the historical journey of the painting itself is part of the “big picture.” ¶ Created at the American Panorama Company in Milwaukee by 17 German artists, The Battle of Atlanta cyclorama took five months to paint before it debuted in Minneapolis in 1886. Painted 22 years after the Battle of Atlanta, the painting originally depicted the battle from a Northern perspective as a heroic Union victory so that it would appeal to Northern audiences. When the painting relocated to Atlanta in 1892, it was slightly modified and advertised as “the only Confederate victory ever painted” to appeal to its new Southern audiences that maintained Confederate sympathies. The 1864 Battle of Atlanta was not a Confederate victory, and changes made in 1892 – like repainting fleeing Confederates in gray uniforms to depict fleeing Union soldiers in blue uniforms - were re-painted in the 1930s, returning the figures to their original appearance. ¶ In the 127 years that it has been on display in Atlanta, it has been the subject of periodic interpretation. At times, it was seen as a proud symbol of the capital of the New South rising from the ashes left by General William T. Sherman. It has also been criticized as an anachronism meant to glorify the “Lost Cause” of the Confederacy. Perceptions of history, and the painting itself, have depended on the eye of the beholder, as audiences viewed it in different times and places. ¶ “History is messy. And it has a lot to teach us – if we let it. What makes Cyclorama: The Big Picture so cool is the surprise factor of the painting’s 50


Restoration of the Cyclorama at the Atlanta History Center.

history, the how and why it was created, and its various interpretations over time,” said Sheffield Hale, president and CEO of Atlanta History Center. “Facts do not change, but how we understand and view the past varies widely. “We are challenging visitors to explore their own perceptions and misperceptions of history. Facts are facts, but the way we view the past varies widely. Visitors to the cyclorama exhibit will be encouraged to think critically about how art, entertainment

and popular culture influence their interpretations of history.” ¶ On July 23, 2014 – one day after the 150th anniversary of the Battle of Atlanta - Mayor Kasim Reed announced a 75-year license agreement with the Atlanta History Center for the relocation, restoration, and conservation of the Battle of Atlanta cyclorama painting, and the Texas locomotive. ¶ The conservation and transfer of Atlanta’s largest painting was orchestrated by a team of Atlanta History Center staff 51


Restoration of the Cyclorama at the Atlanta History Center.

Restoration of the Cyclorama at the Atlanta History Center.

and international experts, working with some of the best minds in the highly specialized field of cyclorama conservation. The team’s two-year process included strength-testing the canvas, documenting the current condition of the paint layers and fiberglass backing, and conducting stabilization conservation efforts needed prior to moving the painting. œ After it was carefully separated along two existing seams, the two 5,000-pound sections were successfully rolled around

two 45-foot-tall custom-built steel spools. Each spool was lifted out of the Grant Park building by a crane through two 7-foot-square holes cut into the concrete roof. After being loaded on the backs of two flatbed trucks, the painting was trucked to the Atlanta History Center where cranes conducted the delicate operation in reverse, lifting and carefully lowering the scrolls through a 10-foot-square opening in the roof of the 25,000-square-foot custom-built Lloyd and Mary Ann 52


53


Detail from the Cyclorama at the Atlanta History Center.

Whitaker Cyclorama Building. ¶ The Atlanta History Center uses this restored work of art and entertainment, and the history of the painting itself, as a tool to talk about the “big picture.” How can perceptions, memory and interpretations be shaped, or mis-shaped, by a combination of art and entertainment, myth and memory, cultural context, and current events during different eras? ¶ Using historical evidence, Atlanta History Center highlights the painting through a variety

of lenses and experiences designed to offer a 360-degree perspective of our shared history through Atlanta’s largest painting, using Civil War imagery as a tool. ¶ “These shifting viewpoints are precisely what make The Battle of Atlanta cyclorama such a distinctive and important artifact,” said Atlanta History Center Senior Military Historian Gordon Jones. “No other object can so vividly tell the story of how attitudes toward the Civil War have been shaped and reshaped over the 54


Early stages of the Cyclorama’s rotunda at the Atlanta History Center.

past 150 years. In fact, it is the largest single artifact in existence to demonstrate the power of the use and misuse of historical memory.” ¶ Visitors are greeted by an introductory video as they enter Cyclorama: The Big Picture. Two levels of exhibitions detail truths and myths of the Civil War; explore the untold stories of the painting; examine the role movies and visual entertainment have on shaping perspectives of the Civil War; and provide a look at the fleeting entertainment

sensation of cycloramas. ¶ Guests enter the painting rotunda through a 7-foot-tall tunnel - passing underneath the diorama - before ascending an escalator to the 15-foot-tall stationary viewing platform. Here visitors immediately experience a full 360-degree view of the painting, enhanced by technology and a 12-minute theatrical, larger-than-life presentation projected onto the painting. ¶ Seeded by a lead legacy gift of $10 million from Atlantans Lloyd and Mary Ann Whitaker, 55


At the High Museum of Art, Edgar Degas (French, 1834–1917), Dancers at the Barre, ca. 1900, oil on canvas. The Phillips Collection.

the Atlanta History Center raised $35.8 million for the project, including $10 million for an endowment that will ensure the ongoing care and safe-keeping of The Battle of Atlanta painting and related objects, including the locomotive Texas, over the 75-year license agreement with the City of Atlanta. The High Museum’s European Masterworks exhibition will present a selection of the most iconic paintings and sculptures from The Phillips Collection, America’s first museum of modern art, which opened in 1921 in Washington, D.C. Arranged thematically

from the early-19th through the mid-20th century, these incomparable European Impressionist, PostImpressionist, and Expressionist artworks exemplify the distinctive eye of collector Duncan Phillips. Phillips believed that “the really good things of all ages and all periods could be brought together … with such delightful results that we recognize the special affinities of artists.” ¶ Viewers will encounter a stunning array from the 19th century by Courbet, Daumier, Ingres, and Manet in dialogue with Impressionist and Post-Impressionist masterpieces by Cézanne, Degas, Monet, Rodin, Sisley, and van Gogh. Central to the 56


At the Asheville Museum of Art, Tom Shields (Asheville, NC), Bridge, 2017, cast iron, 48 × 72 × 20 inches. Photography: Kohler Co.

exhibition are important works by Bonnard, de Staël, Kandinsky, Matisse, Morandi, and Picasso, artists who shaped the look of the 20th century.

NORTH CAROLINA The Asheville Art Museum announces 50 artists whose work has been selected for the Museum’s inaugural contemporary exhibition, Appalachia Now! An Interdisciplinary Survey of Contemporary Art in Southern Appalachia, to be held in its expanded and

renovated facility opening in the spring of 2019. Billed as a “contemporary story of Appalachia,” the exhibition is comprised of works in a variety of media including dance, film, new media, painting, poetry, and sculpture. Appalachia Now! will highlight artists who are living and working in the region, including: Hiomi Okumura, Glenis Redmond, Tom Shields, and Kelly Spell. ¶ Organized by guest curator Jason Andrew, a curator and juror of national renown, this exhibition explores the union of tradition and modern perspectives through contemporary artistic voices of this region. Appalachia Now! situates artists not only within a 57


At the Asheville Museum of Art, Kelly Spell (Hixson, TN), Spotted Hawkfish, 2018, batting, fabric, thread, 43 × 20 ¼ inches. Image courtesy of the artist.

drew submissions from over 400 artists. Throughout the exhibition’s development, over 700 artists were researched for consideration in the exhibition. ¶ The final list of 50 artists represents the diversity of creatives who currently live and work in towns and cities in Western North Carolina and its bordering areas, which include southern Virginia, eastern Tennessee, western South Carolina, and northern Georgia. While all of the artists call Southern Appalachia their home, many originate from other parts of the United States and the world. As the Museum prepares to reinstall its Collection of American art of national significance in its new and renovated building, Appalachia Now! will feature artists whose work is not yet represented in the Museum’s Collection. ¶ Jason Andrew shares about the exhibition, “The diversity and magnitude of art-making in the region expands our understanding of the world today from the perspective of Southern Appalachia. Appalachia, while its roots are deep, has outlived its regionalism and is deserving of a new nuance of narrative.” regional and national dialogue but also within the rich history of creativity and making historically associated with Appalachia. Whether works are personal or universal in theme, this cross-disciplinary exhibition invites visitors to participate in the individual experiences that make this part of the world unique. ¶ Appalachia Now! builds upon the Museum’s mission of collecting and interpreting 20th- and 21st-century American art, including the Collection’s strength in art of the Southeast. Inclusive and ambitious in scope, the exhibition offers a present-day survey of works by artists selected by the guest curator. Through a process conducted over two years, Jason Andrew reviewed recommendations from curators, directors, and gallerists in the region and conducted studio visits with over 55 artists, documenting many of his visits on the Museum’s Instagram account. He next oversaw an open call that

TENNESSEE The Knoxville Museum of Art (KMA) presents Lure of the Object: Art from the June and Rob Heller Collection February 8 – April 21, 2019. This exhibition celebrates the uncommon aesthetic vision and philanthropic impulse of June and Rob Heller, who are among Knoxville’s most active, adventurous, and generous art collectors. ¶ The selection of more than 50 sculptures and paintings attests to the couple’s journey as collectors over four decades. Lure of the Object pays tribute to the Heller’s accomplishments as collectors, their significant role as KMA patrons, and the many key sculptures and paintings they have donated to the museum. Some of the featured objects have been gifted to the KMA, while others are promised gifts. 58


At the Knoxville Museum of Art, Frank Stella (Malden, Massachusetts, 1936; lives and works in New York), Shards II, 1982. Acrylic and oil stick on etched, cut and assembled aluminum, 40 × 45 × 6 inches, Knoxville Museum of Art, gift of June and Rob Heller, 2014. © 2019 Frank Stella / Artists Rights Society (ARS), New York)

International contemporary glass is a particular area of focus, and the exhibition features works by William Morris, Richard Jolley, Bertil Vallien, Oben Abright, Dante Marioni, Therman Statom, and Stephen Rolfe Powell. Complementing sculptural works are paintings by Jim Dine, Frank Stella, Christo, and Paul Jenkins. ¶ Before settling in Knoxville, the Hellers moved frequently as dictated by career assignments in London, Geneva, Singapore, and other major cities around the world. In each location, they made a practice of exploring galleries, art fairs, museums, and auctions with a sense of openness and adventure. Increasingly, they

discovered works of art they could not live without. They were not bound by any set medium, period, or theme, but rather acquired works that provoked a strong emotional response. As their collection grew, so did the challenge of transporting objects — many of them quite large — from home to home. Soon after moving to Knoxville, they became involved in the city’s art scene. They patronized area artists, and became staunch supporters of the Knoxville Museum of Art. In particular, they became outspoken advocates for the KMA’s efforts to build a collection of contemporary sculpture which glass is a primary material. 59


people and places

Heather Otis.

Austin Bell.

FLORIDA

Key Marco Cat and other significant artifacts on loan, a significant cultural event in the Marco Island community. Austin’s leadership in transforming the Marco Island Historical Museum, which opened full-time in 2011, was cited as the primary reason for the award.

The Marco Island Historical Society (MIHS) is pleased to welcome Heather Otis as its new Collections Manager. Heather brings with her more than six years’ experience managing museum collections and holds a B.A. in Archaeology from Hamilton College (2010) and M.A. in Museum Studies from George Washington University (2012). Austin Bell, Curator of Collections for the Marco Island Historical Society, was named the 2018 Citizen of the Year by the Naples Daily News. Austin has worked for the MIHS since 2013, curating the Marco Island Historical Museum’s three award-winning permanent exhibits, overseeing the management of its collections, and publishing two books on the history of Marco Island. In 2018, Austin spearheaded the return of the

GEORGIA Louise Keith Claussen, the first director of the Morris Museum of Art and a civic leader involved in almost every aspect of Augusta’s cultural arts for many years, died in Sarasota, Fla., after a long illness, her family said. She was 71. ¶ Museum founder and chairman William S. Morris III noted recently, “In one way or another, our dear friend Keith Claussen was closely associated with me and my family for more than 45 years. During that time, her contributions to this city were immeasurable, 60


especially in the arts.… The museum achieved remarkable things under her leadership, and we will be forever grateful for all that she gave to it and to us personally.” ¶ Kevin Grogan, director of the Morris Museum of Art since 2002, said, “No one was ever more fortunate than I to have followed someone of Keith’s gifts in this job.” An Augusta native, Claussen had also been a member of the board of directors of the Augusta Symphony Guild, the Greater Augusta Arts Council, the Augusta College Center for the Humanities, the Augusta Opera Association and the Gertrude Herbert Institute of Art. She was past president of the Augusta Ballet and founding president of the Junior League of Augusta Arts Endowment. ¶ She was also a member of the Augusta-Richmond County Coliseum Authority and board member of the Economic Development Council, the MCG Children’s Medical Center, the Tuttle Newton Home Foundation, the Richmond County Historical Society, Historic Augusta Board of Trustees and the Leadership Augusta Executive Board. ¶ Claussen received numerous awards and recognition throughout her career, including the Greater Augusta Arts Council Individual Service Award, the Georgia Women in the Visual Arts honor, the Greater Augusta Arts Council Arts Professional of the Year and the Women of Excellence Award for the Arts. ¶ Claussen began her career as a reporter for the Augusta Herald and later became women’s editor, lively arts editor and Sunday Perspective editor for the Augusta Chronicle and Herald. In recent years she contributed a weekly arts column to the newspaper while serving as director of Fine Arts Publications and manager of Fine Arts Collections for Morris Communications Co. She edited more than 30 books on the arts. ¶ After her retirement in 2015, Claussen moved to Sarasota, and was a volunteer at the Mote Marine Laboratory and Aquarium. In October 2018, she was named volunteer emeritus.

LOUISIANA The Louisiana Art & Science Museum (LASM) announced today that its Board of Trustees has unanimously appointed Serena Pandos to be the museum’s next President and Executive Director, replacing Carol Gikas who will retire at the end of January after leading LASM for 39 years. Scott Kirkpatrick, Chair of the Board, said, “We are delighted to announce Serena’s

appointment and are all excited by her energy and enthusiasm for our mission, staff and community. Carol is leaving behind a tremendous legacy. The Museum has flourished under her leadership and we are excited for Serena to carry on this excellent work.” ¶ Pandos will relocate from McAllen, TX where she is currently serving as President and Executive Director of the International Museum of Art and Science (IMAS). She is a native of Baltimore, MD. As President and Executive Director of IMAS, Pandos oversees all aspects of the art and science programs, education initiatives, and the fundraising efforts. She has prior experience at the IMAS as the Director of Education. The IMAS was founded in 1967 and presents changing exhibitions in over 50,000 square feet of exhibition and public spaces, and offers a variety of programs in art, science, biology, and natural science, including extensive education experiences for youth. In addition to exhibition galleries, IMAS features hands-on learning classrooms, a theatre, and children’s discovery pavilion. ¶ Pandos brings over 15 years experience in museum leadership roles, including 8 years at IMAS, and 3 years at the Laredo Center for the Arts in Laredo, TX where she was Executive Director. She has prior experience at the Walters Art Museum, Baltimore, MD and holds Master of Arts in Arts Administration and Masters of Fine Arts degrees. ¶ Jason MacMorran, Chairman of the Search Committee and past Chair of the LASM Board, stated, “Serena brings an excellent set of skills that includes programming work with artists, fundraising expertise, strategic planning, close ties working with her board, and experience developing strategies for community engagement.” ¶ Pandos is very excited to be moving to Baton Rouge and leading LASM. She said, “This is a great honor to be selected to lead the LASM and to succeed Carol Gikas, for whom I have the utmost respect. Carol’s legacy will be the foundation on which we all work together to advance the mission of LASM. I am eager to get to know the community, the Museum’s staff and LASM supporters.” Pandos will begin her post on or before February 1, 2019. ¶ Pandos was selected following a national search guided by consultant Daniel Keegan of Museum Search & Reference, a firm in Manchester, NH and Boston, MA, of which the Principal is Marilyn Hoffman. The search committee was chaired by Jason MacMorran and consisted of Board Chair Scott Kirkpatrick, ChairElect Patrick Valluzzo, Suzanne Turner, Virginia Noland and Kathy Victorian 61


what’s happening Send information for What’s Happening to John Witek at jwitek@semcdirect.net.

NATIONAL MEETINGS The American Association of State and Local History present its 2019 annual meeting in Philadelphia, PA, August 28–31, 2019. For more information, visit www. aaslh.org. The American Alliance of Museums (AAM) will hold its 2019 Annual Meeting & Museum Expo May 19–22, 2019, in NOLA. For more information, visit www.aam-us. org. SEMC members receive discount registration.

Association of Academic Museums and Galleries (AAMG) will hold its next annual conference June 27–30, 2019, at the University of Minnesota. For more information visit www.aamg-us.org. Association of African American Museums (AAAM) will hold its next annual meeting August 7–10, 2019, in Jackson, MS. For more information, visit www. blackmuseums.org.

Georgia Association of Museums and Galleries Date: January 23–25, 2019 Location: Atlanta, GA Kentucky Museum and Heritage Alliance Date: June 9 – 11, 2019 Location: Richmond, KY Louisiana Association of Museums Date: TBA Location: TBA Mississippi Museums Association Date: March 3–5, 2019 Location: Meridian, MS North Carolina Museums Council Date: March 24–25, 2019 Location: Asheville, NC

STATE MEETINGS

South Carolina Federation of Museums Date: March 20–22, 2019 Location: Horry County, SC

Alabama Museums Association Date: Feb. 25 & 26, 2019 Location: Montgomery

Tennessee Association of Museums Date: March 20–22, 2019 Location: Clarksville, TN

Arkansas Museums Association Date: March 26–28, 2019 Location: Pine Bluff, AR

Virginia Association of Museums Date: March 23–26, 2019 Location: Lynchburg, VA

Florida Association of Museums Date: September 15–18 Location: Orlando, FL

West Virginia Association of Museums Date: March 29–31, 2019 Location: Kingwood, WV

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IMPORTANT DATES Annual Meeting Registration:  online at www.SEMCdirect.net Annual Meeting Hotel:  Charleston Marriott; Room rate $189 plus tax IMPORTANT DATES! June 14: SEMC Exhibition Competition deadline June 14: SEMC Publication Competition deadline June 14: SEMC Technology Competition deadline June 14: SEMC Scholarship Applications deadline June 14: Resource Expo early registration deadline July 19: Annual Meeting Early Registration deadline July 19: SEMC Awards Nomination deadline Sept. 29: Hotel Room Block deadline October 21–23: Annual Meeting 2019 Charleston

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membership Name _________________________________________________________________________ ____________________________________________________________________________________________________ Position_______________________________________________________________________ ____________________________________________________________________________________________________ Institution _____________________________________________________________________ ____________________________________________________________________________________________________ Address _____________________________ City__________ State_______ Zip ____________________________________________________________________________________________________ Phone _____________________________ Fax ________________________________________ ____________________________________________________________________________________________________ Email Address __________________________________________________________________ ____________________________________________________________________________________________________ Individual Membership  Individual. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $45 $_______  Student . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $25 $_______  Retired . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $25 $_______  Benefactor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $75 $_______ Institutional Membership (based on annual budget)  Below $100,000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $50 $_______  $100,000 - $249,999 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $150 $_______  $250,000 - $499,999 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $250 $_______  $500,000 - $1 million . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $350 $_______  $1 million - $5 million . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $450 $_______  Over $5 million . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $550 $_______  Academic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $250 $_______ Corporate Membership  Business Associate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $350 $_______  Corporate Friend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $1,200 $_______  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

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Profile for Southeastern Museums Conference (SEMC)

Inside SEMC Winter 2019  

The Newsletter of the Southeastern Museums Conference

Inside SEMC Winter 2019  

The Newsletter of the Southeastern Museums Conference

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