INSIDE S E MC The Newsletter of the Southeastern Museums Conference
winter 2020 | www.semcdirect.net
ON THE COVER Peter Williams, Incarceration, New Nation!, 2019. Oil-based enamel, oil, and graphite on canvas , 72 × 144 in. Image courtesy of the artist and Luis De Jesus Los Angeles.
7 Executive Director’s Notes Susan Perry 7 JIMI 2020 15 JIMI Founder & Administrator Martha Battle Jackson Steps Back and Celebrates JIMI’s 20th Year 25 LaPaglia Scholarship Winner Stephen Drury Reflects on His JIMI Experience 27
25 Meet SEMC’s New Council Directors 34 A Special Thanks: Endowment and Membership Contributions 37
Exhibitions 58 What’s Happening Important Dates 70 SEMC Job Forum 70 Get Social with SEMC 70 Membership Form 71 Congratulations 52
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 firstname.lastname@example.org Dir. of Collections & Operations, Gibbes Museum of Art, Charleston, SC
Heather Marie Wells Vice President email@example.com 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 firstname.lastname@example.org 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
email@example.com Fort Monroe, VA
Darcie MacMahon Past President firstname.lastname@example.org Director of Exhibits & Public Programs, Florida Museum of Natural History, Gainesville, FL
The deadline for the Summer 2020 newsletter is April 24, 2020. To submit information for the newsletter, please contact the Council Director in your state or memberservices@ semcdirect.net.
semc directors Scott Alvey
Director, Kentucky Historical Society,
Vice President of Historical Interpretation
and Community Partnerships, Atlanta History Center, Atlanta, GA
Manager of Education,
Assoc. Dir. Office of Strategic Partnerships
Columbia Museum, Columbia, SC
Smithsonian’s National Museum of African American History and Culture, Wash., D.C.
Director, Moundville Archaeological Park,
Director of Education, Knoxville Museum
The University of Alabama,
of Art, Knoxville, TN
Moundville, AL Matthew S. Davis
Catherine M. Pears
Director of Historic Museums,
Executive Director, Alexandria Museum
Georgia College, Milledgeville, GA
of Art Alexandria, LA
Director, Discovery Network
Park Manager, Redcliffe Plantation State
Museum of Discovery, Little Rock, AR
Historic Site, Beech, SC
Registrar & Asst. Dept. Chair,
Education & Public Relations Manager
Florida Museum of Natural History,
for the Margaret Walker Center and COFO
Education Center, Jackson State University Jackson, MS
executive director’s notes After almost ten years, I will be retiring on April 30, 2020 as the Executive Director of the Southeastern Museums Conference (SEMC). I have seen the growth and development of SEMC as an impactful resource for professional development opportunities, dynamic exchange of ideas, and powerful network. SEMC has progressed from an inward focus on stability and sustainability to an outward focus on our impact on Southeast museums and service to museum professionals. SEMC 2019 Annual Meeting with 800 registrants had the highest contributions and attendance since 1997. SEMC endowment at $564,800 exceeds half a million. The Reserve Fund at $259,889 provides funds for new initiatives, such as the SEMC Leadership Institute: Leading for Today’s Challenges. As we enter the next decade in 2020, Southeast museums will engage our communities and have global impact in ways beyond our imagination with new audiences, exciting programs, dynamic exhibitions, and innovative technology. SEMC is launching our new Impact Plan 2020 – 2022 with thoughtful direction and responsible foresight. I am most excited to see how SEMC will meet the needs of future museum leaders in small and mid-size museums. I want to thank you for your commitment to Southeast museums and network. 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 Jekyll Island Management Institute (JIMI) celebrated its 20th year January 21 – 28, 2020. The JIMI program demonstrated the impact of museum professionals sharing their expertise with the next generation of museum professionals. JIMI graduates and faculty
contributed over $10,700 to the Martha Battle Jackson Fund honoring JIMI’s administrator/founder Martha Battle Jackson for her past twenty years of dedication to this successful training program. The Martha Battle Jackson Fund will support the growth and development of the JIMI program in the future. SEMC sponsored scholarships for two SEMC members to participate in the Interpretation of African American History and Culture Training January 26 – February 1 in Charleston. The Office of Strategic Partnerships of the National Museum of African American History and Culture (NMAAHC), Smithsonian Institution, in partnership with Charleston County Park and Recreation Commission (CCPRC), provided training in the ethical interpretation of history and offered certification as interpretive guides through the National Association for Interpretation (NAI). SEMC members, who participated in the workshop, will present the impact of this training at SEMC 2020 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. This year SEMC will partner with the Association of African American Museums (AAAM) to pilot SEMC Leadership Institute: Leading for Today’s Challenges clearly focused on leadership training for staff of small- and mid-sized museums. The program will equip a new generation of museum leaders with outward-looking skills and stratagems that increase their effectiveness as leaders and ability to create a productive and inclusive environment within the museum and among the museum’s board. SEMC appreciates the support from the Smithsonian NMAAHC’s Office of Strategic Partnerships, L. Carole Wharton, Robert and 7
Nancy Sullivan, SEMC Council and members whose contributions have made this pilot program possible. “Compassion in Action” at SEMC 2020 Annual Meeting will inspire empathy, creativity, wellness, and engagement in the history, art and culture of Louisville. SEMC annual meeting is an opportunity to convene innovative thinkers to envision new museum audiences, diverse community engagement, civil dialogues, ethics and fundraising strategies. Plan to attend SEMC 2020 Louisville, October 19–21.
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
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JIMI 2020 Martha Battle Jackson , JIMI Administrator John Lancaster , JIMI Facilitator
The Jekyll Island Management Institute (JIMI 2020) Selection Committee had a very difficult time narrowing down the applications to the 16 spots in the class. The committee, which also included Elise LeCompte, Florida Museum of Natural History, Gainesville, FL; Pam Meister, Mountain Heritage Center, Cullowhee, NC; Angel Rohnke, Mississippi Museum of Natural Science, Jackson, MS; and Ahmad Ward, Historic Mitchelville Freedom Park, Mitchelville, SC selected 16 candidates with 5 alternates. Scholarships were provided by Gaylord Archival (Jackie Spainhour) and John and Cynthia Lancaster (DeLena Feliciano). The Peter S. LaPaglia JIMI Scholarship was awarded to Stephen Drury, and the South Carolina Military Museum provided a scholarship to Aaron Loehndorf in memory of Col. Ewell “Buddy” Sturgis (JIMI Class of 2010). Six of the region’s state associations also provide JIMI support for their members. The Arkansas Museums Association (Jennifer Wisniewski) and the South Carolina Federation of Museums (Lauren Virgo) provided a full tuition scholarship as well as a travel stipend. The Alabama Museums Association (Tyler Malugani), Mississippi Museums Association (Mattie Codling), and the North Carolina Museums Council (Suzanna Ritz) provided a tuition scholarship. The Muscarelle Museum of Art, Williamsburg, VA sponsored the wine and cheese gathering, and Satilla Computer Solutions, St. Marys, GA sponsored the pizza lunch.
The Jekyll Island Museum and Historic Preservation continues to serve as our host, and this year provided meeting space in its new museum, the Mosaic, as well as Villa Ospo. The historic Jekyll Island Club Hotel also provided meeting space in addition to serving the awards banquet. Fundraising at the JIMI reunion luncheon at the SEMC annual meeting in Charleston, SC raised additional funds. Special thanks to Melissa Buchanan (JIMI 2019), Steven Drury (JIMI 2020), Anna Gospodinovich (2019), Claire E. Gwaltney (JIMI 2016), Shelby D. Henderson (JIMI 2017), Cynthia Lancaster, Pulaski, TN, Elise LeCompte (JIMI 2006), Julie C. Lohnes (JIMI 2019), Keith F. Post (JIMI 2013), Anne Pratt (JIMI 2017), Tania Sammons (JIMI 2005), Debbie Shaw (JIMI 2013), Deitrah Taylor (JIMI 2012), Stacey Thompson (JIMI 2015), and Scott Warren (JIMI 2011) for their support! 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 designing the JIMI 2020 brochure, and last but not least, the incredible SEMC staff of Susan Perry and John Witek for their recordkeeping, fiduciary advice, and deadline reminders. The JIMI faculty continues to earn high marks from participants. This year’s faculty included
JIMI GRADUATES 2020 16
JIMI 2020 Class first row, l-r: DeLena Feliciano, Assistant Director of Education, Knoxville Museum of Art, Knoxville, TN; Nancy Noles, Education/Outreach Coordinator, Alexandria Museum of Art, Alexandria, LA; Felicidad Noemi McDonald, Museum Studies Program Leader, Florida Gulf Coast University, Fort Myers, FL; Jackie Spainhour, Museum Director, Hunter House Victorian Museum, Norfolk, VA; Rachel Gibson, Vice President of Operations/Director of Education, Belle Meade Plantation, Nashville, TN; Suzanna Ritz, Operations & Programs Manager, Körner’s Folly Foundation, Kernersville, NC; Angie Albright, Director, Clinton House Museum, Fayetteville, AR; Lauren Virgo, Executive Director, Aiken County Historical Museum, Aiken, SC. second row, l-r: Jennifer Wisniewski, Museum Specialist, Clinton Presidential Library and Museum, Little Rock, AR; Tyler Malugani, Museum Education Coordinator, Sloss Furnaces National Historic Landmark, Birmingham, AL; Kater Miller, Outreach Coordinator, National Museum of the Marine Corps, Triangle, VA; Stephen Drury, Security Supervisor, Florida Museum of Natural History, Gainesville, FL; Aaron Loehndorf, Collections/Education Specialist, Shiloh Museum of Ozark History, Springdale, AR; Janelle Neises, Deputy Director, CIA Museum, Washington, DC; Mattie Codling, Director of Collections & Exhibits, Walter Anderson Museum of Art, Ocean Springs, MS.
George Bassi (Director, Lauren Rogers Museum of Art, Laurel, MS), Sharon Bennett (Project Archivist, College of Charleston, Charleston, SC), Aaron Berger (Director, Coxe Curry & Associates, Atlanta, GA), Jamie Credle (Director, Davenport House Museum, Savannah, GA), William U. Eiland (Director, Georgia Museum of Art, Athens, GA), James B. Gardner Executive (retired) for Legislative Archives, Presidential Libraries, and Museum Services National Archives, Washington, DC, Stefanie Green (Business & Operations Manager, Kennesaw State University, Kennesaw, GA), Robert E. Hopkins (Site Manager, Historic Edenton State Historic Site, Edenton, NC), Martha Battle Jackson (JIMI Administrator, Chief Curator, North Carolina Historic Sites, Raleigh, NC), John S. Lancaster
(JIMI Facilitator, Museum Director, Giles County Historical Society, Pulaski, TN), Lisa Littlefield (Director of Career Services, Hood College, Frederick, MD); and Pamela Meister (Director, Mountain Heritage Center, Cullowhee, NC). Five of the above faculty are JIMI alumni â€” Aaron Berger, Jamie Credle, Stefanie Green, Bob Hopkins, and John Lancaster. After serving since 2015, Aaron bid a fond farewell to the class. Stefanie was a firsttime presenter. JIMI could not have achieved national prominence without the continued support of SEMC members, vendors, faculty, and alumni across the country. Thank you!
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JIMI FOUNDER & ADMINISTRATOR MARTHA BATTLE JACKSON STEPS BACK AND CELEBRATES JIMI’S 20TH YEAR Now that the Jekyll Island Management Institute (JIMI) has celebrated its 20th year, Martha Battle Jackson, JIMI founder and administrator, recently announced that “it is time for me to step back and let the next generation take the reins.” Martha’s dedication, commitment, and passion have made it possible for JIMI to be the most affordable, successful professional development program in the nation. In the following letter and testimonials, Martha shares the impact of this program on careers and museums of JIMI graduates: In the 20 years of JIMI’s existence, approximately 30 different faculty from around the country have shared their expertise with 339 museum professionals from 31 states, representing all regional associations, and the District of Columbia. Many have gained the confidence to assume directorships of museums, conduct capital campaigns, build new facilities or expand current ones, improve collections management practices, create new educational programs, write disaster preparedness and response manuals, obtain AAM accreditation, and take leadership roles in national, regional, and state museum associations. Recent testimonials include those from: Andrew Farrell (2013), formerly of Birmingham Museum of Art, now the Program Manager for the Broads National Park in England, noted that his JIMI binder has been a valuable resource, so much so that “They put me (the immigrant) in charge of the whole £4.5 million project.” Josh “Jay” Heuman (2014), formerly of Houston Museum of Fine Arts, now the Curator of Education and Public Programs The Power Plant Contemporary Art Gallery Toronto, Canada: “JIMI gave me the
confidence to move back to my native city of Toronto and accept this position from which I manage 20 staff and a multi-million dollar budget.” Aaron Berger (2001), formerly of Marietta Museum of Art, then the Breman Museum, and now of Coxe Curry and Associates, as well as JIMI faculty: “I have loved, genuinely loved, my time at JIMI. Each year, I leave energized and filled with hope by the intelligent, thoughtful and insightful comments shared by the participants. Their dedication to such an immersive experience is tremendous and I know from personal experience that what is learned during those sessions are tools that stay with a museum professional throughout their career. Equally as important is the network that is built during between classmates. Twenty years since I graduated, I still reach out to colleagues that I got to know during JIMI. The ripple effect this program has had on the field is outstanding and honestly, a bit overwhelming. It has been my honor to be a part of it.”
Arkansas, North Carolina, South Carolina, Mississippi, and Alabama offer scholarships to their respective state association members. In its beginning, JIMI had corporate sponsors, such as Hollinger, LaPaglia & Associates, and Steel Fixtures, enabling us to offer full and partial tuition scholarships. We now have several named scholarships — the Peter S. LaPaglia JIMI Scholarship and the Col. Ewell “Buddy” Sturgis Memorial Scholarship — honoring Pete as a co-founder and Buddy as a longtime JIMI supporter. Gaylord Archival offers a full tuition scholarship, and John and Cynthia Lancaster have generously offered a scholarship to a participant from Tennessee for several years. Through the years, an amazing faculty not only have offered their services for free, most of them have donated 25
Martha and Kyle Bryner at the SEMC 2016 Annual Meeting, Charlotte, NC.
money to the program and/or have refused reimbursements for part or all of their expenses. Furthermore, they have made themselves available to alumni to answer questions, and quite a few “JIMI-kins” have called on faculty to get advice. There are now several “JIMI-kins” serving as faculty. I am particularly proud of the fact that throughout its history, we have averaged 4.8 out of 5 (with 5 being the highest) in overall ratings for the institute. It truly has taken a village of people to build this program to be a national success story, so I feel confident that new JIMI leadership can build on the firm foundation we have established. Again, I will be happy to help with the transition to new leadership.
At the JIMI 2020 banquet, Susan Perry, SEMC Executive Director, announced the Martha Battle Jackson Fund in honor of Martha’s legacy as founder and administrator of Jekyll Island Management Institute for the past 20 years. Over 90 JIMI alumni and faculty contributed almost $11,000 to establish the Martha Battle Jackson Fund. The Martha Battle Jackson Fund will contribute to the future growth and development of the JIMI program. Please consider giving back to JIMI and contributing to the Martha Battle Jackson Fund at www.semcdirect.net/donate.
— Martha Battle Jackson 26
LAPAGLIA SCHOLARSHIP WINNER STEPHEN DRURY REFLECTS ON HIS JIMI EXPERIENCE I was thrilled when I received my acceptance notice to the Jekyll Island Management Institute (JIMI) program and even more so when I was notified I had received the LaPaglia Scholarship. My Director at the Florida Museum of Natural History, Darcie MacMahon, spoke highly of the program and encouraged me to apply as part of my efforts to progress my career in the museum field. I became even more enthusiastic about the program after hearing about what it did for the careers of the alumni I spoke with at SEMC 2019 in Charleston. My expectations were high going into the program, and I was surprised to have them exceeded by the end. I was expecting JIMI to be an intense program after receiving the schedule a few weeks prior to the start date and surprised to see the diversity of training that we would be undergoing. JIMI provides sessions on the entire spectrum of museum work, from fundraising to exhibit design. This was invaluable for me, and I think any museum professional should be familiar with how the different departments of a museum function, especially if they want to move into management. Prior to attending JIMI, I was unfamiliar with certain strategies used in museum fundraising and working with board members. I now feel a lot more confident with my knowledge in these fields after engaging with the instructors and sharing experiences with members from my cohort. From the first day and first session of the program, I could already feel a sense of community among my cohort. The JIMI facilitators foster a welcoming and comfortable environment that encourages participants to speak openly about the challenges they face at their museums. The sense of community and design of the activities allowed us to share in each otherâ€™s challenges and effectively collaborate on solutions as if we were all on a team at the same museum. In addition to the benefit of working
with museums professionals in a secluded and setting, JIMI hosts passionate and experienced instructors from the museum field. What truly makes JIMI unique is the instructors that volunteer their time to host sessions. Most of them are former alumni, and the fact they are willing to volunteer their time and even fly across the country to present at the program is a testament to the benefits they received from it and want to pass on to others. This is especially true considering a number of them are directors in the field with tight schedules. I was amazed at the knowledge they were willing to share and how closely they worked with participants to help build valuable skills sets for museum management. The JIMI facilitators, John Lancaster and Martha Battle Jackson, kept the program highly organized. JIMI is a concentrated experience, with some days hosting sessions from close to sunrise to past sunset. However, I cannot recall feeling disengaged from the experience at any point because of the quality of the instructors and the community-building with my cohort. My favorite experiences at JIMI were when instructors would present a topic that had a diversity of views and open the floor for conversation. I valued hearing about how small historic houses managed things like the visitor experience vs. large history institutions situated in big cities. The diversity of participant background, passion and knowledge of the instructors, organization and program design of the facilitators, and beautiful setting on Jekyll Island all came together to make JIMI 2020 a truly magical and unforgettable experience. Stephen Drury (2020) Security Supervisor, Florida Museum of Natural History, Gainesville, FL
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M EET SEMC’S NE W CO U N C I L DIREC TO RS programming, publications, exhibits and other public resources. Alvey began his career as an education volunteer for the Museum of History and Science in Louisville. As the museum grew into Louisville Science Center, so did his job duties. He became assistant director of exhibits and later rose to director of visitor interaction. In 2008, he joined KHS as design studio director, leading efforts to create promotional and interpretative presentations at the Thomas D. Clark Center for Kentucky History. He began serving as KHS deputy director in 2012 and was named executive director in July 2018.
Executive Director, Kentucky Historical Society Scott Alvey, a 25-year museum professional, is executive director of the Kentucky Historical Society (KHS). He is responsible for directing the organization’s mission, values and strategic priorities through
An Evansville, Ind., native, Alvey is a 2010 graduate of the American Association of State and Local History (AASLH) Seminar for Historical Administration. Besides teaching a seminar and chairing a host committee for AASLH, he was president of the Kentucky Museum and Heritage Alliance, vice president of the Kentucky Association of Museums and state director for the Southeast Museums Conference. Alvey holds a bachelor’s degree in history from Western Kentucky University. KHS is a membership organization and agency within the Kentucky Tourism, Arts and Heritage Cabinet. 34
History, is a committeeman at large for CurCom, serves as an accreditation reviewer for the American Alliance of Museums, and is a 2016 graduate of the 21st Century Museum Leadership Institute, which was sponsored by the George Washington University and the Smithsonian Institution.
Matthew S. Davis
Director of Historic Museums, Georgia College Matthew S. Davis is the Director of Historic Museums at Georgia College, which includes Georgia’s Old Governor’s Mansion, Andalusia: the Home of Flannery O’Connor, and the Sallie Ellis Davis House. His duties include oversight of the historic properties, coordinating administrative functions, research, curatorial work, educational programming, fundraising, and management of the Watson-Brown Foundation Junior Board of Trustees, Milledgeville Chapter. Aside from his duties at the museums, Davis teaches as an adjunct professor at Georgia College in the History Department and Museum Studies Program within the Department of Art. He also teaches at Georgia Military College in the History Department. Matt, a native of Kinston, NC, received his education at Georgia College & State University graduating Summa Cum Laude with a Bachelor of Science Degree in History in 2002 and a Master of Arts in History with a concentration in Public History in 2004. Davis is a member of several professional museum groups and boards. He was the founder and first chair of the Milledgeville Museum Association, was elected president of the Georgia Association of Museums in 2018, and serves on the programming, evaluation, and mid-career committees of the Southeastern Museums Conference. In 2012, Davis was named as the Museum Professional of the Year by the Georgia Association of Museums. Additionally, he is the State Awards Chair for the American Association of State and Local
Jackson State University Lance Wheeler currently serves as Education & Public Relations Manager for the Margaret Walker Center and COFO Education Center at Jackson State University. He was the Curator of Interpretation for the Two Mississippi Museums located in Jackson, Mississippi. Originally from Jersey City, New Jersey, he earned a BA in History with a focus on American slavery at Belmont Abbey College and MA in History with a concentration in Museum Studies at UNC Greensboro. As a public historian, Mr. Wheeler realizes the importance in engaging patrons, not only through facts and dates, but also through personal stories and relativity to current events. Lance believes that museums should be seen has resource centers that allow the community to share their voices and gives individuals the historical connections they need to understand how the past has shaped the present and will shape the future. In his words, “Museums are more than buildings that hold artifacts and the stories of those before us, museums are places that take the visitors on a spiritual journey that bridges the past with the present and beyond.” 35
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 firstname.lastname@example.org. Matthew Davis Mary LaGue Robert Sullivan
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 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 (minimum $5,000) Sylvia F. Alderson Bob Rathburn Graig D. Shaak Nancy & Robert Sullivan
W. James Burns Horace Harmon Brian Hicks Pamela Hisey Micheal Hudson Kathleen Hutton Rick Jackson Andrew Ladis John Lancaster Elise LeCompte Allyn Lord Michael Anne Lynn R. Andrew Maass Darcie MacMahon Robin Seage Person Allison Reid Steve Rucker Heather Marie Wells Kristen Miller Zohn
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 37
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. Carolyn Reams
Other SEMC Contributions Holly Akkerman [Martha Battle Jackson JIMI Fund] Laura Anderson [Martha Battle Jackson JIMI Fund] Sarah Aubrey [Martha Battle Jackson JIMI Fund] Glenna Barlow [Leadership Institute] Amy Beisel [Martha Battle Jackson JIMI Fund] Alexander Benitez [Martha Battle Jackson JIMI Fund] Sharon Bennett [Martha Battle Jackson JIMI Fund]
Aaron Berger [Martha Battle Jackson JIMI Fund] RoAnn Bishop [Martha Battle Jackson JIMI Fund] Samuel Black [Martha Battle Jackson JIMI Fund] David Brashear [Jekyll Island Mgmt Institute] David Butler [Leadership Institute] Elizabeth Chambers [Martha Battle Jackson JIMI Fund] Megan Cook [Martha Battle Jackson JIMI Fund] Kim Coryat [Martha Battle Jackson JIMI Fund] Jamie Credle [Martha Battle Jackson JIMI Fund] Matthew Davis [Leadership Institute] Mary Durusau [Martha Battle Jackson JIMI Fund] Abbie Edens [Martha Battle Jackson JIMI Fund] Christian Edwards [Martha Battle Jackson JIMI Fund] William Eiland [Jekyll Island Mgmt Institute] [Martha Battle Jackson JIMI Fund] Bob Ernspiker [Annual Meeting] Mark Farnsworth [Martha Battle Jackson JIMI Fund] Veronica Gallardo [Leadership Institute] Pody Gay [Martha Battle Jackson JIMI Fund]
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Anna Gospodinovich [Martha Battle Jackson JIMI Fund] Stefanie Green [Martha Battle Jackson JIMI Fund] Claire Gwaltney [Jekyll Island Mgmt Institute] Richard Harker [Martha Battle Jackson JIMI Fund] Mary Hauser [Martha Battle Jackson JIMI Fund] Ellen Hawkins [Martha Battle Jackson JIMI Fund] Josh Heuman [Martha Battle Jackson JIMI Fund] Toni Hiley [Martha Battle Jackson JIMI Fund] Walter Hill [Jekyll Island Mgmt Institute] Marian Inabinett [Martha Battle Jackson JIMI Fund] Martha Jackson [Jekyll Island Mgmt Institute] Steven Jeffcoat [Jekyll Island Mgmt Institute] Emily Jones [Martha Battle Jackson JIMI Fund] Michelle Lanier [Martha Battle Jackson JIMI Fund] Elise LeCompte [Leadership Institute] [Martha Battle Jackson JIMI Fund] Lisa Littlefield [Martha Battle Jackson JIMI Fund] Catherine Lloyd [Martha Battle Jackson JIMI Fund] Ellen Lofaro [Martha Battle Jackson JIMI Fund] Julie Lohnes [Martha Battle Jackson JIMI Fund] Jason Luker [Martha Battle Jackson JIMI Fund]
Catherine Luplow [Martha Battle Jackson JIMI Fund] Karen Mahoney [Martha Battle Jackson JIMI Fund] Pam Meister [Martha Battle Jackson JIMI Fund] Corinne Midgett [Martha Battle Jackson JIMI Fund] Mary Miller [Leadership Institute] Anne Miller [Martha Battle Jackson JIMI Fund] Nathan Moehlmann [Martha Battle Jackson JIMI Fund] Lisa Nicoletti [Martha Battle Jackson JIMI Fund] Melissa Parris [Jekyll Island Mgmt Institute] Dale Pennington [Martha Battle Jackson JIMI Fund] Susan Perry [Martha Battle Jackson JIMI Fund] Alexandrea Pizza [Martha Battle Jackson JIMI Fund] Keith Post [Jekyll Island Mgmt Institute] Anne Pratt [Martha Battle Jackson JIMI Fund] James Quint [Leadership Institute] Carolyn Reams [Martha Battle Jackson JIMI Fund] Angel Rohnke [Martha Battle Jackson JIMI Fund] Amanda Rose [Jekyll Island Mgmt Institute] Steve Rucker [Martha Battle Jackson JIMI Fund]
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Michael Scott [Leadership Institute][Martha Battle â€ƒ Jackson JIMI Fund] Graig Shaak [Jekyll Island Mgmt Institute] Ann Shackelford [Martha Battle Jackson JIMI Fund] Catherine Shteynberg [Martha Battle â€ƒJackson JIMI Fund] Julie Thomas [Martha Battle Jackson JIMI Fund] Jennifer Thomas [Martha Battle Jackson JIMI Fund] Beth Thompson [Martha Battle Jackson JIMI Fund] Sarah Tignor [Martha Battle Jackson JIMI Fund] Karen Utz [Martha Battle Jackson JIMI Fund] Michael Warren [Jekyll Island Mgmt Institute] Michael Warren [Martha Battle Jackson JIMI Fund] Heather Marie Wells [Jekyll Island Mgmt Institute] L. Wharton [Leadership Institute] Lance Wheeler [Annual Meeting] Lisa Wheeler [Martha Battle Jackson JIMI Fund] John Woods [Annual Meeting] Catherine Wright [Martha Battle Jackson JIMI Fund] JoAnn Zeise [Jekyll Island Mgmt Institute]
New or Renewal Memberships Received SEMC thanks those who have renewed or joined our organization for the first time between December 1, 2019 and February 10, 2020. 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 and benefits, or to join online, visit semc direct.net, email email@example.com, or call 404.814.2047. For your convenience, the last page of this newsletter is a membership application.
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At the Computer Museum of America, in Roswell, GA: the complete collection of Byte magazine covers including special editions.
GEORGIA Computer Museum of America (CMoA) opened July 20, 2019 in Roswell, Georgia with a mission to preserve many of the artifacts that propelled the computing age forward. From the history of supercomputers to space exploration to mini- and microcomputers, CMoA allows visitors to reminisce about their first home gaming system or the punch card machine they may have used at work to educating and inspiring future advancements in technology. On March 19, 2020, CMoA will unveil an Enigma machine used by the Axis during WW2 to transfer secret messages. The code was broken by Alan Turing and a team of mathematicians at Bletchley Park as dramatized in the movie The Imitation Game. Dr. Kristie Macrackis, author, historian,
and professor at Georgia Tech will deliver a keynote address before guests will have the opportunity actually to use the Enigma machine.
NORTH CAROLINA The Asheville Art Museum has received a major grant from the Council on Library and Information Resources (CLIR) to digitize the Museumâ€™s hidden Black Mountain College (BMC) Collection materials and create the Digital BMC Collection and Interconnective Timeline. This is one of 18 projects funded by CLIR for the 2019 Digitizing Hidden Special Collections and Archives awards.
The $163,694 award supports this 24-month project. The web-based timeline will provide: An object-centric history of BMC and the lasting legacy of its influence through interconnected stories of artists, works, ideas, and place. It will also allow public access to hundreds of never-before-seen BMC archival documents and literature, works of art, furniture, and more as well as a unique digital resource for scholars, students, and the public, worldwide. “We are thrilled to receive this award,” says Asheville Art Museum Executive Director Pamela L. Myers. “It’s important to us as an institution to make our Collection as accessible as possible, and this project plays a pivotal role in these efforts.”
At the completion of the project, the Museum will host a webinar symposium that will feature presentations about the newly digitized BMC materials from scholars across the globe and encourage scholastic collaboration across academic disciplines and borders. The Asheville Art Museum is one of 58 institutions located in 17 U.S. states and Canada that will be involved in the projects, which cover subjects ranging from natural history and biodiversity to indigenous history, public media, and modern art. This is the fifth group of projects supported by the Digitizing Hidden Special Collections and Archives awards program, which is generously funded by The Andrew W. Mellon Foundation. The Digitizing Hidden
Joseph Fiore, Black Mountain Lake Eden, 1954, watercolor on paper, 12 ⅝ × 18 inches. Black Mountain College Collection, gift of the Falcon Foundation, 2012.53.01.22. © The Falcon Foundation.
Donté K. Hayes, the 2019 winner of the 1858 Prize for Contemporary Southern Art awarded by the Gibbes Museum of Art.
Collections program, successor to the Cataloging Hidden Special Collections and Archives program, supports the creation of digital representations of unique content of high scholarly significance that will be discoverable and usable as elements of a coherent national collection.
“We’re thrilled to announce Donté as our winner,” says Angela Mack, executive director of the Gibbes Museum of Art. “His works demonstrate a powerful vision, as he is at the forefront of southern contemporary art. We were extremely impressed with all of our finalists this year and want to thank everyone who submitted to Society 1858.”
Hayes works in clay as a historical and creative base material to inform memories of the past. Ceramics becomes a bridge to conceptually integrate disparate objects and or images for the purpose of creating new understandings and connections with the material, history, and social-political issues. These ceramic objects are vessels, each making symbolic allusions to the black body.
The Gibbes Museum of Art is proud to announce Donté K. Hayes as the 2019 winner of the 1858 Prize for Contemporary Southern Art. Hayes, a Georgiabased ceramicist, explores themes in Afrofuturism, a projected vision of an imagined future which critiques the historical and cultural events of the African Diaspora and the distinct black experience of the Middle Passage. Hayes will be awarded a $10,000 cash prize and will be celebrated at the Amy P. Coy Forum and Prize Party hosted by Society 1858 at the Gibbes on February 6 & 7, 2020.
“Thank you to the Gibbes Museum and to Society 1858 for awarding me this year’s 1858 Prize for Contemporary Southern Art,” says Donté Hayes, the 2019 award recipient. “This is a tremendous honor and I wish to 54
Donté K. Hayes, Sanctuary, 2020; Stoneware, Black Clay body; 16.5 × 16 × 16 inches. “The ceramic sculpture titled Sanctuary speaks to African Americans, people of color, and those on the margins of society finding refuge in places and spaces where they may not be welcomed or perceived to be inhospitable. The sculptural bulbous and breast like top express the feeling of safety, nurturing, nourishment, and acceptance in your own skin. While the lower half of the sculpture’s texture alludes to a breastplate, shells, skin, and or scales, symbolizing strength and security against harm. What makes us human is finding a place you can come home to.” — Donté K. Hayes
congratulate my fellow finalists. As an artist working in the Southern United States this award is so important to recognize all the powerful artwork and creative souls working and born in the Southern region. Winning this award will help to continue to push my art practice financially and creatively after graduate school, along with the opportunity to reach more audiences with my artwork through receiving this prestigious prize. Thank you again and I am blessed and humbled by winning this award.” Hayes has exhibited extensively across the southern United States as well as internationally in London, England. He is the recent recipient of two full tuition residencies at the Watershed Center for the Ceramic Arts in Newcastle, Maine and Haystack Mountain School of Crafts in Deer Isle, Maine. His artwork is in the permanent collection of the Zuckerman Museum of Art at Kennesaw State University and Spruill Arts
Center in Atlanta, Georgia. Hayes is a 2020 Master of Fine Arts degree candidate at The University of Iowa. Each year, the 1858 Prize is presented by Society 1858, a member auxiliary group of the Gibbes Museum of Art comprised of young professionals. The $10,000 cash prize is awarded to one artist whose work demonstrates the highest level of artistic achievement in any media, while contributing to a new understanding of art in the South. This year, the panelists were forced to choose six finalists due to the outstanding caliber of candidates received. Along with Hayes, this year’s short list of finalists included Damian Stamer, Herb Parker, Martha Clippinger, Michi Meko and Stephanie Patton. Artist’s Statement Through the influence of hip-hop, history, and science fiction, my artwork explores themes in Afrofuturism, a
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projected vision of an imagined future which critiques the historical and cultural events of the African Diaspora and the distinct black experience of the Middle Passage. While also delving into deeper social issues which broaden the conversation between all of humanity.
During my time in Iowa, my research has been focused on the pineapple as a symbol which represents welcoming and hospitality, while also pushing larger issues of access to food, empire, and what constitutes the feeling and or act of being welcomed. Through this research, I have discovered that the tradition of the pineapple as a symbol for hospitality is rooted in slavery and agricultural colonization of the Caribbean, South America, and the Southern United States, in particular, South Carolina and my home state of Georgia. When a new slave ship bringing enslaved Africans docked at the port, the dock foremen would place a pineapple at the front of the dock to notify a new shipment of enslaved Africans has arrived. This creating the pineapple as a symbol for welcoming. The investigation in the concept of welcoming is also from personal struggles in moving to a new place and environment and not feeling like I belonged or welcomed. The human desire to find a place to belong and call home is universal.
From these ideas, my art practice is based on research and references the visual traditions from the Caribbean, South America, the Southern United States, and the African continent. I work in clay as a historical and creative base material to inform memories of the past. The handling of clay reveals the process and shares the markings of its maker. Ceramics becomes a bridge to conceptually integrate disparate objects and or images for the purpose of creating new understandings and connections with the material, history, and social-political issues. I compare the construction and deconstruction of materials to the remix in rap music and how human beings adapt to different environments and reinvent new identities. These ceramic objects are vessels, each making symbolic allusions to the black body.
Determined: The 400-Year Struggle for Black Equality
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Charleston Visitor Center
KENTUCKY The Hite Art Institute is hosting an exhibition of Peter Williams: Incarceration. Much “political” art today—and,
indeed, much of the political art of the past forty years— has placed medium in the service of message. Such work takes the form that its content demands. But for forty years Peter Williams has been doing something quite a 58
Peter Williams, Incarceration, New Nation!, 2019. Oil-based enamel, oil, and graphite on canvas , 72 Ă— 144 in. Image courtesy of the artist and Luis De Jesus Los Angeles.
bit more complicated: he treats politics as a support for investigating radical painterly invention. Williams’ art is certainly about the politics of blackness—historical politics, contemporary politics, personal politics, and future politics. But Williams’ gambit is painterly, and his investigation and invention take up the vocabularies of high modernism and its demands for new modes of representation. He is a particularly inventive colorist in this regard, using a “hyperbolic” palette to compose his work. His terms are familiar; flatness and the grid loom large for him just as they did for many avant-garde painters. However, for Williams, the grid can never be disambiguated from prison bars and cages, disciplinary apparatuses that seek to organize not just a world (as the grid does for a painting) but also its inhabitants. This is the point of departure for the exhibition Peter Williams: Incarceration. In the work on display, Williams threads historical conditions of black incarceration—the middle passage, slavery, and escape—through current modes of black incarceration—prison, cultural appropriation, and the legacy effects of redlining. These “political” threads compose the support for a similar kind of painterly weaving, one in which the artist elaborates
on the modernist grid and various compositional inventions like the flatting of the picture plane and expressionistic use of line and color. Thus, for example, a ship carrying slaves across the middle passage is also a cruise ship holding prisoners of a different sort. This, in turn, serves as the support for Williams’ investigation of “dot” painting technique, gridding, and framing (Voyage, Then and Now, 2019). Williams’ paintings are, in this way, not about incarceration, they are about painting—but also about painting from a particular racial position and thus never “about” anything else. In this way too the work can be at once heartbreaking and funny, critical and nonsensical. It is both committed in its politics and radical in its composition. Williams’ recent exhibitions include Black Universe (2020), MOCAD, Detroit, MI; Men of Steel, Women of Wonder (2019), Crystal Bridges Museum of American Art, Bentonville, AK; River of Styx (2018), Luis De Jesus Los Angeles; With So Little To Be Sure Of (2018), CUE Art Foundation, New York; Soul Recordings (2018), Luis De Jesus Los Angeles; Prospect.4: The Lotus In Spite Of The Swamp (2017-18), S AV E Prospect Triennial, New Orleans, LA; Dark Humor: Peter Williams (2017).
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SOUTH CAROLINA The Gibbes Museum of Art announced the release of its first children’s book, G is for Gibbes: A Museum ABC Book. The book introduces readers to art and terminology encountered during a visit to the museum. A twist on the traditional ABC book, this illustrated story is inspired by the Gibbes Museum of Art, Charleston’s oldest art gallery. G is for Gibbes was written by Gibbes board member Cathy Bennington Jenrette and illustrated by Gibbes Creative Director Erin Bennett Banks. The book is now available for purchase at the Gibbes Museum Store. “It’s important for us that the Gibbes enhances lives through art by enabling visitors of all ages, backgrounds and abilities to discover and be inspired by the creative
process,” says Angela Mack, Executive Director at the Gibbes Museum of Art. “Education through storybooks is an invaluable way to introduce new concepts that resonate with kids, and we are extremely proud to say that this book does just that.” The book is narrated by an art-loving alligator, giving children of all ages the opportunity to experience a museum for the first time. G is for Gibbes engages readers with works of art from the Gibbes Museum’s permanent collection, as well as broader art terms such as abstract art, colors, impressionism, drawing and landscape. The book also introduces readers to less familiar terms such as miniature portraits and restoration. G is for Gibbes allows children to experience the joy of visiting an art museum through the eyes of the Gibbes Gator and learn to love the alphabet in a whole new way. 66
NATIONAL MEETINGS Museums Advocacy Day 2020 is February 24–25, in Washington DC. The American Association of State and Local History presents its 2020 annual meeting in Las Vegas, NV, September 23–26. For more information, visit www.aaslh.org. The American Alliance of Museums (AAM) will hold its 2020 Annual Meeting & Museum May 17–20 in San Francisco, CA. For more information, visit www.aam-us.org. Association of Academic Museums and Galleries (AAMG) will hold its next annual meeting June 17–20, in Lawrence, KS. For more information visit www.aamgus.org. Association of African American Museums (AAAM) will hold its next annual meeting August 5–8 in Miami, FL. For more information, visit www.blackmuseums.org.
STATE MEETINGS Alabama Museums Association/ Georgia Association of Museums Date: January 26–29 Location: Columbus, GA Arkansas Museums Association Date: March 30 – April 1 Location: Bismarck, AR
Florida Association of Museums Date: September Location: Miami, FL Kentucky Museum and Heritage Alliance Date: June 8–9 Location: Paducah, KY Louisiana Association of Museums Date: TBA Location: TBA Mississippi Museums Association Date: April 16–17 Location: Hattiesburg, MS North Carolina Museums Council Date: March 29–30 Location: Rocky Mount, NC South Carolina Federation of Museums Date: TBA Location: Columbia, SC Tennessee Association of Museums Date: March 18–20 Location: Kingsport, TN Virginia Association of Museums Date: March 7–10 Location: Chantilly, VA West Virginia Association of Museums Date: March 27–29 Location: Bridgeport, WV
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IMPORTANT DATES The deadline for Summer 2020 Inside SEMC newsletter is April 24, 2020. To submit information for the newsletter, please contact the Council Director in your state or email@example.com. Annual Meeting Registration: Opens early May 2020 online at SEMCdirect.net.
Annual Meeting Hotel: Galt House Hotel, 140 N. Fourth Street, Louisville, KY. Room rate $154/Rivue Tower or $174/Suite Tower + tax. June 19: SEMC Exhibition Competition deadline June 19: SEMC Publication Competition deadline June 19: SEMC Technology Competition deadline June 19: SEMC Scholarship Applications deadline June 19: Resource Expo early registration deadline July 17: Annual Meeting Early Registration deadline July 17: SEMC Awards Nomination deadline Sept. 25: Hotel Room Block deadline Oct. 19–21: Annual Meeting 2020 Louisville
SEMC Job Forum offers employers and job seekers the ability to search and post jobs on SEMC’s website. SEMC Job Postings are now self-serve and free for members. For non-members, there is a flat fee of $20 each job description, regardless of the word count. SEMC Member Institutions may now post jobs for free on the SEMC jobs page at www.semcdirect.net/listing.
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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
The Newsletter of the Southeastern Museums Conference