Inside SEMC Fall 2018

INSIDE S E MC The Newsletter of the Southeastern Museums Conference

fall 2018 | www.semcdirect.net

ON THE COVER Detail of The Order of Things, 2016, by Lauren Fensterstock (American, b. 1975), on view at the Gibbes Museum of Art.

9 Executive Director’s Notes Susan Perry

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Thank You to Our Sponsors, Exhibitors, Hosts, and Committees for SEMC Annual Meeting 2018 Jackson Winners of the 2018 SEMC Museum Professional Awards and Competition Awards

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SEMC President’s Address Zinnia Willits thanks Jackson and welcomes SEMC to Charleston, South Carolina

59 SEMC Welcomes its New President and Council Members 60 Empathy in Our Darkest Hour: Curating with and for Orlando

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Family of Luis Vielma, who was murdered at Pulse Nightclub, gather around a memorial cross on display at the Orange County Regional History Center in 2017.

The Climate Change Experience of Museums and the Role of We Are Still In A Special Thanks Endowment and Membership Contributions

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Congratulations 92 Exhibitions 96 People and Places 102 What’s Happening 106 SEMC Job Forum 107 Get Social with SEMC 107 Membership Form 109

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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 Winter 2019 newsletter is December 28, 2018. 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

Kyle Elizabeth Bryner

Calinda Lee

kbryner@theMSV.org

clee2@atlantahistorycenter.com

Registrar & Collections Manager,

Vice President of Historical Interpretation

Museum of the Shenandoah Valley,

and Community Partnerships,

Winchester, VA

Atlanta History Center, Atlanta, GA

Alexander Benitez

Deborah Mack

avbenitez@ua.edu

mackdlynn@si.edu

Director, Moundville Archaeological Park,

Assoc. Dir. Office of Strategic Partnerships

The University of Alabama,

Smithsonian’s National Museum of African

Moundville, AL

American History and Culture, Wash., D.C.

Pody Gay

Rosalind Martin

pgay@museumofdiscovery.org

rmartin@knoxart.org

Director, Discovery Network

Director of Education, Knoxville Museum

Museum of Discovery, Little Rock, AR

of Art, Knoxville, TN

Julie Harris

Catherine M. Pears

jharris@riverdiscoverycenter.org

cpears@lsua.edu

Executive Director, River Discovery

Executive Director, Alexandria Museum

Center, Paducah, KY

of Art Alexandria, LA

Brian Hicks

Michael Scott

Hernando, MS

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

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executive director’s notes At the SEMC 2018 Annual Meeting, we celebrated art, history, nature and culture in Jackson. Jackson museums did Rise Up in the City with Soul. A highlight was gathering to sing “This Little Light of Mine” at the new Mississippi Civil Rights Museum. The off-site tours, workshops, and evening events were awesome at Jackson’s art, history, science and children’s museums. Jackson created powerful moments from contemplating an artwork to petting a screech owl named “Ghost” to enjoying lively music and delicious food.

We ignited a vision of museums that rise up to foster equity, impact diverse audiences, and encourage empathy. Museum leaders stood up to inspire change in our communities. ¶ Words of our keynote speaker poet Natasha Trethewey were the culminating cry for social justice. Family history and memories in poetry mix with “the trauma of our national wounds, our shared history” to define Monument. In the poem “Imperatives for Carrying On in the Aftermath,” Natasha Trethewey concludes: Ask yourself what’s in your heart, that reliquary — blood locket and seedbed — and contend with what it means, the folk saying you learned from a Korean poet in Seoul: that one does not bury the mother’s body in the ground but in the chest, or — like you — You carry her corpse on your back.

Hold space, power of stories, memories in our museums. ¶ This fall we faced the reality of our museums’ challenges as we move forward to impact our museum communities.

— Susan Perry, SEMC Executive Director

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THANK YOU TO OUR SPONSORS EXHIBITORS, HOSTS, AND COMMITTEES FOR SEMC ANNUAL MEETING 2018 JACKSON 9

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SEMC 2018 Annual Meeting Sponsors PLATINUM SPONSOR National Museum of African American History & Culture, Smithsonian Institution GOLD SPONSORS 1220 (Evening Event at the Two Mississippi Museums) Exhibits Concepts (Evening Event at the Two Mississippi Museums) SILVER SPONSORS Collector Systems (General Session/Keynote Speaker) Hilferty Associates (Lanyards) Solid Light, Inc. (Grand Opening Reception) BRONZE SPONSORS Alexander Haas (Director/Trustee Luncheon) L. Carole Wharton, LLC (SEMC Council Legacy Reception) DLR Group (Director/Trustee Luncheon) Gallagher & Associates (Director/Trustee Luncheon & MAX tour) HealyKohler Design (Grand Opening Reception) Monadnock Media (Evening Event at the Two Mississippi Museums) Our Fundraising Search (Grand Opening Reception) Solomon Group (Director/Trustee Luncheon) SunTrust (Registration Table) The Design Minds (Evening Event at the Two Mississippi Museums) Travelers (Director/Trustee Luncheon) MOBILE GUIDE SPONSORS OnCell ANNUAL MEETING LOGO Stacy Clark, Mississippi Museum of Art SEMC SCHOLARSHIP SPONSORS SEMC 2017 Silent Auction (SEMC Traveling Scholarships) Darcie MacMahon (President’s Scholarship) John A. Woods Appraisers (Historic House Museum Professional Scholarship) Historic House Museums Affinity Group (HHMAG)

SERA SPONSORS Transportation Consultants International (Registrars Respite co-sponsor) Willis Towers Watson (Registrars Respite co-sponsor) Past Perfect (Dan Silosky Award for Excellence in Collections Management and Registration) Gaylord (SERA member discount) EXHIBITORS 1220 Exhibits 22 Dragons Armour Systems Art Display Essentials, a 10-31 Company ArtFields Aurora Storage Products, Inc. Available Light Belfry Historic Consultants Building Four Fabrication Charlotte Van & Storage Cinebar Productions Inc. Collector Systems, LLC. Conservation Center for Art & Historic Artifacts Cowan’s Auctions Creative Arts Unlimited, Inc. CultureConnect Daruma Tech Delta Designs Ltd. dmdg2 Dorfman Museum Figures, Inc. Duncan-Parnell ERCO Lighting, Inc. Exhibit Concepts, Inc. Formations, Inc. Frina Design Gaylord Archival Goosepen Studio & Press HealyKohler Design Hollinger Metal Edge, Inc. Huntington T. Block Insurance Agency, Inc. HW Exhibits Institute of Museum and Library Services Interactive Knowledge Logis-Tech, inc Mallory Alexander International Logistics Malone Design/Fabrication MBA Design & Display Products Merlan Exhibits

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NMHS Unlimited Film Productions Northern Light Productions OnCell Services Oxford American Q Media Productions Riggs Ward Design Ripley Entertainment Significant Developments Skinner Inc. Solid Light Solomon Group Speak Creative Studio Displays The Design Minds, Inc. The Discovery Network, Museum of Discovery The Historic New Orleans Collection Transformit Universal Fiber Optic Lighting LLC. University of Oklahoma, College of Professional & Continuing Studies US Art Visit Mississippi Willis Towers Watson- Fine Art, Jewelry & Specie

JACKSON HOST COMMITTEE Betsy Bradley, Mississippi Museum of Art (Co-chair) Charles Knight, Mississippi Museum of Natural Science (Co-chair) Lucy Allen, Katie Blount, Elizabeth Coleman, Cindy Gardner, Pamela Junior, Stephanie Morrisey, Rachel Myers, Brother Rogers, Clay Williams, Mississippi Department of Archives & History Lizzy Abston, McKenzie Drake, Allison Harrison, Kali Mason, Ruthie Massey, Mississippi Museum of Art Cissy Anklam, Museum Concepts George Bassi, Lauren Rogers Museum of Art Sam Beibers, Andrea Falcetto, Angel Rohnke, Mississippi Museum of Natural Science Bill Blackwell, Morgan Lewellen, Andrea Patterson, Mississippi Sports Hall of Fame & Museum Kate Jacobson Dutro, The Oaks House Museum Dee Gardner, Mississippi Museum of Natural Science Foundation Susan Garrard, Susan Branson, Charley Frye, Cynthia Till, Mississippi Children’s Museum Brian Hicks 19

Khalid Hudson, Okolo Rashid, International Museum of Muslim Cultures Robby Luckett, Jackson State University, Margaret Walker Center Johnnie Mayberry, Tougaloo College Shonda McCarthy, Jackson State University, Gallery 1 Christine McInnes, Mary Current, Shun Hatten, Kim Lewis, Jonathan Pettus, Visit Jackson Maggie Lowery, Mississippi Development Authority, Visit Mississippi, Tourism Division Aaron Rodgers, Theresa Love, Emily Summerlin, Mississippi Agriculture and Forestry Museum Charlene Thompson, Smith Robertson Museum Malcolm White, Mississippi Arts Commission Mike Williams, Russel C. Davis Planetarium

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WINNERS OF THE 2018 SEMC MUSEUM PROFESSIONAL AWARDS AND COMPETITION AWARDS

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The Southeastern Museums Conference (SEMC) is proud to announce the winner of the 37th annual James R. Short Award, the most prestigious recognition of service to the museum profession in the southeast. This year, SEMC will also confer the Outstanding Service Award, Museum Leadership Award, and the Emerging Museum Professional Award. Winners were chosen from a wide range of entries across the Southeastern United States. The SEMC Awards Committee, co-chaired by Julie Harris, Catherine Pears, and Robin Reed, honors outstanding colleagues who have helped shape the world of museums.

James R. Short Award Recipient The James R. Short Award, established by SEMC in 1981, recognizes individuals who have given a lifetime (20+ years) of service to the museum profession, with a significant portion of that service at a museum within the SEMC region. It is the most prestigious recognition of service to the museum profession in the southeast.

Lin Ezell, Director, National Museum of the Marine Corps (NMMC), in Quantico, Virginia is this year’s recipient of the James R. Short Award. A dedicated and visionary leader, Lin assumed the role of director and saw the NMMC building project through to completion the next year. By involving county, state, and national stakeholders while including local focus groups, she ensured that Museum represents all communities in the Marine Corps and the nation. Lin oversaw the NMMC’s accreditation with the American Alliance of Museums on its first try. Due to the robust outreach and education capability developed by Lin Ezell, the museum hosts around half a million visitors a year, a number nearly double the amount predicted by statisticians earlier in the project. Ezell also served as curator of manned spaceflight at the National Air and Space Museum, part of the Smithsonian Institution in Washington, D.C., joining in 1984. During her time with the museum, she was named to lead the design and construction efforts for a new facility, which culminated in the opening of a 760,000 square-foot museum in 2003. In addition to her museum work, Ezell is an author and historian, writing and co-writing several works as part of NASA’s official history team.

Catherine Pears, Lin Ezell (James R. Short Award Recipient), Julie Harris, and Darcie MacMahon.

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Priscilla Hancock Cooper, Outstanding Service Award Recipient.

Outstanding Service Award Recipient First awarded in 1999, the Outstanding Service to the Museum Profession Award recognizes a leader with 10 or more years of service to an allied or affiliated professional organization. Such a leader will have assisted the museum profession in areas such as program organization and long term cultural development. SEMC is pleased to name Priscilla Hancock Cooper, retired Vice President of Institutional Programs, Birmingham Civil Rights Institute, in Birmingham, Alabama as the winner of 2018’s award. Her 25 year tenure with the BCRI began with developing exhibitions and educational programs in 1992 and saw her serve as Vice President of Institutional Programs. Additionally, she served eighteen months as interim President and CEO. Her work in developing innovative programming has won attention and awards such as the National Medal for Museum Service (2007) and others.

Museum Leadership Award The Museum Leadership Award, initiated in 1994, recognizes mid-career museum professionals who have shown significant advancement within the profession by leadership in museum activities at his or her institution, within the museum profession as a whole, and especially in the southeast region. Award eligibility requires ten years of experience as a museum staff member and a minimum of five years immediate past tenure with a museum in the SEMC region. The winner of this year’s award is Cindy Gardner, Two Mississippi Museums administrator, the Mississippi Department of Archives and History, Jackson, Mississippi. Gardner has served as the project manager and field services curator for the Museum of Mississippi History. She worked with architects, exhibit designers and staff while developing workshops, organizing construction meetings and administering grant programs during the project. Gardner was a key member of the project team during the design and construction of the Two Mississippi Museums. She acted as a liaison with scholars, exhibit consultants and design professionals.

Under her leadership, the museums have welcomed 140,000 visitors since opening day.

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Cindy Gardner, Museum Leadership Award.

Emerging Museum Professionals Award Recipient The Emerging Museum Professionals Award, awarded annually since 2007, recognizes emerging professionals who have demonstrated excellence and leadership in museum activities at their institutions, within the museum profession as a whole, and especially in the southeast region. This year’s winner is Stacey Wilson, Curator of Exhibitions, Mississippi Arts + Entertainment Experience (The MAX), in Meridian, Mississippi. At The MAX, Stacey has been responsible for the organization and coordination of the 6,000 square feet of interactive and immersive exhibitions exploring artists and entertainers from Mississippi.

She supervises the work of nearly a dozen scholar consultants and oversees team that includes two museum historians. Wilson organizes the changing of exhibitions and develops the content of permanent exhibits and has, with great skill and tact, negotiated significant long-term loans from private collections and other institutions.

Travel Awards and President’s Award Recipients AFRICAN AMERICAN MUSEUM PROFESSIONAL Blair Banks, Education Coordinator, Museum of Design Atlanta (MODA), Atlanta, Georgia Judy Richardson, Freelance Documentary Filmmaker/ Scholar/Interpreter, Silver Spring, Maryland EMERGING MUSEUM PROFESSIONAL Brian Murphy, Curator, Florence Indian Mound Museum, Florence, Alabama Anissa Ford, Education Director, Gadsden Arts Center & Museum, Quincy, Florida Rachel Stayer, Outreach Coordinator, Telfair Museums, Savannah, Georgia HISTORIC HOUSE MUSEUM PROFESSIONAL Melissa Swindell, Executive Director, The Wren’s Nest, Atlanta, Georgia

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Stacey Wilson.

Janet Parker, Director of Historic Properties, Callaway Plantation/The Washington Historical Museum, Washington, Georgia SEASONED MUSEUM PROFESSIONAL Amy Beisel, Manager, Museum Division, International Museum of the Horse, Lexington, Kentucky Lauren Davis, Curator, Louisiana’s Old State Capitol, Baton Rouge, Louisiana SMALL MUSEUM PROFESSIONAL Joshua Whitfield, Curator, Amelia Island Museum of History, Fernandina Beach, Florida Gary Spencer, Curator/Registrar/Historian, North Carolina National Guard Museum, Raleigh, North Carolina

Blair Banks.

Judy Richardson.

GENERAL SEMC MUSEUM PROFESSIONAL Kathleen Pate, Immediate Past President & President, Arkansas Museums Association & Arkansas, Women’s History Institute, Pine Bluff, Arkansas STUDENT Brittany Halberstadt, Bachelor of Arts, Art History, Duke University, Waxhaw, North Carolina Lauren O’Neill, Master of Arts, Museology, University of Florida, Gainesville, Florida PRESIDENT’S SCHOLARSHIP Heather Rumfelt, Assistant Director, Ohr-O’Keefe Museum of Art, Biloxi, Mississippi

Brian Murphy.

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Anissa Ford.

Rachel Stayer.

Melissa Swindell.

Janet Parker.

Amy Beisel.

Lauren Davis.

Joshua Whitfield.

Gary Spencer.

Kathleen Pate.

Brittany Halberstadt.

Lauren O’Neill.

Heather Rumfelt.

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2018 SEMC Publication Competition Awards Publication chair: Stacy Clark, Director of Marketing, Mississippi Museum of Art JURORS Jamie Burwell Mixon is a Professor of Graphic Design in the College of Architecture, Art and Design at Mississippi State University (MSU). After graduating from MSU with a Bachelor of Art, she worked as a designer, illustrator and art director for 10 years before joining the faculty in the Department of Art in 1991.

At MSU, Mixon is coordinator of the Graphic Design Concentration area, teaches graphic design courses and continues to design for select clients. Since 2004, her creative activity has focused on designing and illustrating concert posters, creating 7-10 per year. She has created posters for Katy Perry, the Rolling Stones, Paul McCartney, Bruno Mars, the Eagles, Fleetwood Mac, Dolly Parton, Mumford & Sons, Chris Stapleton, Pink, Tom Petty, George Strait, Blake Shelton, Cher, Guns ‘n Roses, Eric Clapton, Taylor Swift, AC/DC and James Taylor, among others. Mixon’s design work has been featured in Communication Arts, Print, HOW, Creative Quarterly, Logo Lounge, French Paper Sample Room and various other international and national design publications. In the Los Angeles-based annual Pollstar LIVE! National Concert Industry Awards Poster Competition, her poster work has garnered 6 top awards, including Poster of the Year in 2009. Awards also include numerous 7th District Regional AAF ADDY Awards and AAF ADDY Awards from the Tuscaloosa and North Mississippi chapters, including five Best-ofShow and six Jurors’ Awards. Mixon was named a MSU Grisham Master Teacher in 2004 and honored with a Grisham Teaching Excellence Award in 1996. In 2018, she received the CAAD Faculty Research Award.

Darren Schwindaman is the principal of Creative Distillery, a marketing firm in Jackson. Darren studied graphic design at Loyola University in New Orleans, Louisiana, where he developed a passion for the intersection of social justice and communications.

Today, Creative Distillery is celebrating its 10th year in business, and offers a full range of marketing services to government, nonprofit, and business clients.

Kenyatta Stewart: Outside of teaching theory and practice at Jackson State University as a tenured Associate Professor of Graphic Design in various design disciplines, Kenyatta Stewart has designed booklets, brochures, murals, advertisements, websites, posters, mailers, window perf graphics, packaging and exhibits for the university. Prior to teaching, he worked in the advertising industry designing for print, web, and motion. As principal of blakstarr, a multi discipline design boutique, Stewart has received multiple national and international awards for his designs. From 20082018, he served as Curator of Exhibitions at the Smith Robertson Museum + Cultural Center where the museum received the honor of being named “the place to visit” in Mississippi by CNN’s 50 states, 50 spots in 2014. Stewart holds graduate degrees in Graphic Design and Broadcast Design from the Savannah College of Art and Design.

ANNUAL REPORTS Gold: 2016-2017 Annual Report | Gibbes Museum of Art in Charleston, South Carolina Silver: 2016-2017 Year in Review | Arkansas Art Center in Little Rock, Arkansas Bronze: 2016-2017 Annual Report | Wiregrass Museum of Art in Dothan, Alabama BOOKS AND CATALOGUES Gold: Clinton Hill | Georgia Museum of Art in Athens, Georgia Silver: Fahamu Pecou: Visable Man | Halsey Institute of Contemporary Art in Charleston, South Carolina Bronze: Audubon’s Last Wilderness Journey: The Viviparous Quadrupeds of North America | Julie Collins Smith Museum of Fine Art at Auburn University in Auburn, Alabama BROCHURES AND RACK CARDS Gold: Year of Fashion | Mint Museum Randolph in Charlotte, North Carolina Silver: Art of the City: Postmodern to Post-Katrina | The Historic New Orleans Collection in New Orleans, Louisiana Bronze: Art is the Reason: The Gibbes Museum of Art 10-Year Strategic Plan 2018-2028 | Gibbes Museum of Art in Charleston, South Carolina

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Annual Reports Gold: Gibbes Museum of Art, 2016–2017 Annual Report.

Books and Catalogues Gold: Georgia Museum of Art, Clinton Hill.

Brochures and Rack Cards Gold: Mint Museum Randolph, Year of Fashion.

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Campaigns Gold: Reynolda House Museum of American Art, Reynolda Centennial.

Gallery Guides Gold: Bechtler Museum of Modern Art, Wrestling the Angel: A Century of Artists Reckoning with Religion.

CAMPAIGNS Gold: Reynolda Centennial | Reynolda House Museum of American Art in Winston-Salem, North Carolina Silver: Soul of a Nation: Art in the Age of Black Power | Crystal Bridges Museum of American Art in Bentonville, Arkansas Bronze: Rodin: The Human Experience | Telfair Museums in Savannah, Georgia GALLERY GUIDES Gold: Wrestling the Angel: A Century of Artists Reckoning With Religion | Bechtler Museum of Modern Art in Charlotte, North Carolina Silver: Soul of a Nation: Art in the Age of Black Power | Crystal Bridges Museum of American Art in Bentonville, Arkansas Bronze: Guo Pei: Couture Beyond | SCAD FASH Museum of Fashion + Film at the Savannah College of Art and Design in Savannah, Georgia

INVITATIONS Gold: Stuart Davis: In Full Swing | Crystal Bridges Museum of American Art in Bentonville, Arkansas Silver: Soul of a Nation: Art in the Age of Black Power | Crystal Bridges Museum of American Art in Bentonville, Arkansas Bronze: Develar y Detonar: Contemporary Mexican Photography | Mint Museum Uptown in Charlotte, North Carolina NEWSLETTERS AND CALENDARS OF EVENTS Gold: facet | Georgia Museum of Art at the University of Georgia in Athens, Georgia Silver: Canvas | Knoxville Museum of Art in Knoxville, Tennessee Bronze: The MCM Playbook | Mississippi Children’s Museum in Jackson, Mississippi Honorable Mention: Members’ Magazine | Huntington Museum of Art in Huntington, West Virginia 38

Invitations Gold: Crystal Bridges Museum of American Art, Stuart Davis: In Full Swing.

Newsletters and Brochures Gold: Georgia Museum of Art, facet.

Posters Gold: Wiregrass Museum of Art, 2017 Yard Party for Art.

POSTERS Gold: 2017 Yard Party for Art | Wiregrass Museum of Art in Dothan, Alabama Silver: Summer at the Hilliard | Paul and Lulu Hilliard University Art Museum in Lafayette, Louisiana Bronze: Molly Blank Jewish Concert Series | William Bremen Jewish Heritage Museum in Atlanta, Georgia

2018 SEMC Exhibition Competition Awards SEMC 2018 Exhibition Competition chair: Ann Rowson JURORS Jeremy Underwood (Building Four Fabrication), Jose Vazquez (CurCom), Lonny Schwartz (The Design Minds, Inc.) 39

Exhibition Gold under $10,000: Mississippi Department of Archives and History, Stories Unfolded.

UNDER $10,000 Gold: Mississippi Department of Archives and History, Stories Unfolded Silver: Orange County Regional History Center, Leaving Vietnam: Building a New Life in Central Florida Bronze: Berman Museum, Polished Portraits: The Bronzes of Germaine Berman Jurors’ comments on the Gold winner: “The newly restored historic structure engages audiences through diverse modes of immersive experiences. The newly renovated site showcases the shift from 20th century interpretative approaches to a 21st century more educational and participatory environments. The design intervention is a perfect demonstration on contemporary approaches to historic preservation practices and the importance of preserving our cultural landscapes.”

“The level of engagement and dialogue with the community and content experts was evident in their approach to this traditional house museum with the goal to continue the dialogue.”

“Developing interactive areas for visitors that are either not interested in quilts or do not understand the nuanced details of the art form set this exhibition apart from the competition. Recognizing that exhibit content may not be fully appreciated by all and creating an alternative means for the exhibit’s content to be discussed is brilliant.”

UNDER $25,000 Gold: Zuckerman Museum of Art, Tomashi Jackson: Interstate Love Song Silver: The Columbus Museum, From Flying Aces to Army Boots: World War I and the Chattahoochee Valley Bronze: LSU Museum of Art, Broken Time: Sculpture

by Martin Payton Honorable Mention: Museum of History and Holocaust Education, Georgia Goes to War Jurors’ comments on the Gold winner: “Showcasing histories of segregation and desegregation, the exhibition provides an unique perspective through the lens of color as exemplified by different media which in turns makes it visually 40

Exhibition Gold under $25,000: Zuckerman Museum of Art, Tomashi Jackson: Interstate Love Song.

and intellectually engaging and helps the visitor consider the role of color as a source of relational experiences.”

“This exhibit was very innovative in its blend of art theory and story-telling. The result was a highly visual, highly conceptual, engaging experience.”

museum’s mission by promoting collaborative, interdisciplinary research.”

“The way the inward look of this story drove the development and design really resulted in a rich collection-based exhibition.”

OVER $25,000

Gold: Historic Columbia, Mann-Simons Site Silver: North Carolina Museum of History, World War I Bronze: Georgia Museum of Art, Modern Living, Gio Ponti and the 20th Century Aesthetics of Design Honorable Mention: SCAD Museum of Art, Carlos Cruz-Diez: Chroma

Gold: Georgia Museum of Art, Crafting History: Textiles, Metals, and Ceramics at the University of Georgia Silver: Telfair Museum, Carrie Mae Weems: Sea Island Series, 1991-1992 Bronze: Museum of Contemporary Art Georgia, Craig Drennen’s Working Artist Project Exhibition Honorable Mention: SCAD Museum of Art, Chiharu Shioto: Lines of Infinity Jurors’ comments on the Gold winner: “The exhibition brings attention of a relatively unknown collection offering insights on a remarkable collection produced by university faculty. The exhibition ‘inward’ examination about this production communicated and advanced the

OVER $100,000

Jurors’ comments on the Gold winner: “The newly-restored historic structure engages audiences through diverse modes of immersive experiences. The newly renovated site showcases the shift from 20th century interpretative approaches to a 21st century more educational and participatory environments. The design intervention is a perfect demonstration on contemporary approaches to historic preservation 41

Exhibition Gold over $25,000: Georgia Museum of Art, Crafting History: Textiles, Metals, and Ceramics at the University of Georgia.

practices and the importance of preserving our cultural landscapes.”

“The level of engagement and dialogue with the community and content experts was evident in their approach to this traditional house museum with the goal to continue the dialogue.”

OVER $1,000,000 Gold: Mississippi History Museum, One Mississippi Many Stories Silver: Mississippi Civil Rights Museum, Mississippi Civil Rights Museum Exhibits Bronze: Florida Museum of Natural History, Discovery Zone Honorable Mention: Mississippi Arts and Entertainment Experience, Mississippi Arts + Entertainment Experience Jurors’ comments on the Gold winner: “The museum is tasked with a challenging task in exploring the entire sweep of the state’s history.

The museum’s galleries deftly managed to convey a history that includes dark episodes of oppression.

The understanding of such complex narratives is advanced by the exhibition design and layout that engages visitors with the content while contributing their own stories in the process.”

“What was so compelling about this exhibition was their use of video recording booths to allow Mississippians to become a part of the exhibition.

This enables visitors to become a part of the stories being told in text panels in an inclusive way.”

2018 SEMC Technology Competition Awards Technology co-chairs: Michael Scott and Anna Tucker APPLICATIONS Gold: Reynolda Revealed, Reynolda House Museum of American Art. Description: Reynolda House Museum of American Art employs thoughtful use of partnerships to develop content in Reynolda Revealed, and builds bridges among the three sites for future collaboration. The application is easy 42

Exhibition Gold over $100,000: Historic Columbia, Mann-Simons Site.

Exhibition Gold over $1,000,000: Mississippi History Museum, One Mississippi Many Stories.

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to navigate, and ease-of-use and accessibility is prioritized through their use of captioned AV and bilingual material. As a whole, the application functions well, is well designed, and carries quite a bit of content, and provides a helpful navigation feature for guests on a large campus.

Silver: PAMM AR, Perez Art Museum Miami.

Description: This application gives museums, particularly art museums, the opportunity to imagine new ways to engage visitors. PAMM AR is a fantastic use of the museum field’s snazziest new tech, Augmented Reality (AR), without just being “AR for AR’s sake.” This application is an amazing use of interdisciplinary topics and serves as a technology game changer.

Bronze: Power and Propaganda, Frist Art Museum.

Description: Fun, interactive, and nimble, Frist Museum of Art’s Power and Propaganda also serves as a socially relevant and creative game that engages by personally investing them in this history.

This simple yet thoughtfully developed application engages people with the content in a “game” like manner that sparks conversations relevant to today.

DIGITAL EDUCATION Honorable Mention: Educator Resources, Wiregrass Museum of Art. Description: Wiregrass Museum of Art provides a handsome design for their educational resources, and their efforts to extend resources to educators — for free — should be applauded.

DIGITAL MARKETING Gold: Choose Your Chihuly, Crystal Bridges Museum of American Art. Description: An innovative and daring approach to curation, Choose Your Chihuly is a fantastic use of social media to not only make Crystal Bridges appear more accessible, but also museums as a whole.

Crystal Bridges Museum of Art’s well-planned campaign exhibits the considerable thought they placed into opening up this process and making it accessible to everyone. The brilliance of including stakeholders not only in the selection process, but also behind-the-scenes, is a unique effort that deseres recognition. A digestible and delightful lesson in museum literacy, Choose Your Chihuly is a “simple” idea that packs a punch.

Silver: Mammoth Comes to Life, Florida Museum of Natural History. Description: Florida Museum of Art provides the opportunity for visitors to see themselves in the Augmented Reality experience through Mammoth Comes to Life. It engages everyone who walks through the door, sparking interest and involving them from the beginning.

It is an effective approach to attracting and engaging new audiences, and values a participatory experience over a passive one. This is an effective and fun effort that will produce ROI long after the initial estimates.

GALLERY INSTALLATION Gold: This Little Light of Mine, Mississippi Civil Rights Museum. Description: This Little Light of Mine brings together audiences through a multisensory experience, and the interactive sculpture offers a variety of interpretive opportunities. The newly-opened Mississippi Civil Rights Museum creates a truly interactive piece that provides guests with an experience that gives personal relevance to stories told throughout the museum. The central location of this sculptural interactive fixture and its position in a space filled with images of individuals’ portraits allowed groups of visitors to all look up and be involved at the same time. he symbolism and messages they communicate with this installation provide the guest with a unique and memorable experience.

A powerful social justice message to continue “sharing the light,” This Little Light of Mine is a participatory experience with a call to action.

Bronze: Leave Your Own Reflections, Mississippi Department of Archives and History.

Description: The Mississippi Department of Archives and History’s Leave Your Own Reflections is a fantastic interactive that allows guests to not only explore more content related to the exhibition, but also to contribute to that content, allowing them to see themselves in the exhibition and feel connected to it on a personal level. The innovative technology coupled with the time-honored impact of oral histories combine to create a fantastic presentation.

Honorable Mention: I Remember Marco, Marco Island Historical Society. Description: In I Remember Marco, Marco Island Historical Society embarks

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on a thoughtful approach to multiple modalities — high-tech, low-tech, and no-tech — for the variety of audiences that the MIHS attracts. I Remember Marco is a great use of resources to create an interactive that guests can contribute to during and after their visit. This project possesses a strong focus for audience development while not alienating established stakeholders. The ability for visitors to feel like their stories are meaningful enough to contribute makes for a better museum experience, and opens the door for alternative curatorial voices.

MEDIA PRODUCTIONS Gold: Be Washington: It’s Your Turn to Lead, George Washington’s Mount Vernon. Description: A standout for its use of interactivity, Be Washington’s production values and gaming concept are nothing short of excellent.

Entertaining, high-production value, and a participatory experience, this media production

by George Washington’s Mount Vernon provides an outstanding use of technology that draws the visitor into the story. The interactive game play allows users to have a truly engaging experience and learn history in a unique and exciting format.

Silver: Freedom Summer Theater, Mississippi Civil Rights Museum. Description: Freedom Summer Theater by the Mississippi Civil Rights Museums presents several key elements deserving of a Silver designation: the immersive environment is very powerful; technology is well used; and there are excellent production values. The use of the physical setting in tandem with the video, as well as the lighting, make this media production multi-dimensional. Additionally, the production storyline is well-thought out, and the overall experience transports the viewer to new perspectives through excellent use of archival and present-day interview footage.

Bronze: Legacies, James Madison’s Montpelier.

Description: Powerful, evocative, and bold, the gorgeously produced Legacies by James Madison’s Montpelier is an excellent use of video to tell the full history of the era of our nation’s foundation.

Their incorporation of oral history, documents, and images make this video well-rounded in its interpretation. This media production’s use of still and moving image, spoken word, and song combine to make a significant impact on the viewer.

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SEMC PRESIDENT’S ADDRESS Greetings from Charleston, South Carolina! October was a whirlwind of professional activity for me which culminated in a truly wonderful Annual Meeting in Jackson, Mississippi. It was evident that the Jackson museum community is strong, thriving, forwardthinking, inclusive and FUN! As one who is now in the throes of planning next year’s annual meeting, I am truly appreciative of how much work goes into making an SEMC conference terrific. From the smiling volunteers positioned throughout the City, to the entertaining, inviting and delicious evening events, to the myriad of tours, sessions and workshops offered, Jackson museum professionals rolled out the red carpet for attendees and set the bar high for 2019!

However, if I know Charleston — voted No. 1 city in the United States in Travel + Leisure Magazine’s 2018 World’s Best Awards — it is up to the challenge! We are so excited to welcome SEMC to the Holy City. Our local arrangements team has been meeting since early 2018 to plan an amazing, hurricane-free (start crossing your fingers now,) conference for our membership. We chose the theme, “Transforming Myths” for SEMC 2019 to consider this idea of myths, commonly held but false ideas that surround our museums, our cities and our histories. Myths usually bear more than a grain of truth, but they are never the whole truth. I encourage all of you to explore myths as related to our Southeastern museums: myths about how we operate, about our revenue streams, about our spaces and properties, about our leadership, about our complex past. As always, the best session proposals encourage

meaningful, educational conversations about our profession and its responsibility to share inclusive histories and diverse voices.

Finally, I would like to reiterate that I am truly honored to serve as President of this wonderful organization for the next two years. Involvement in SEMC has been transformational to my museum career and my leadership roles continue to define who I am as a professional both within the organization and at the Gibbes Museum of Art. I whole-heartedly believe in SEMC’s ability to connect people, inspire ideas and provide networks of support and friendship among institutions and colleagues. SEMC’s training programs, conferences, committees and affinity groups are essential to career development and remind us that our individual work contributes to something larger including the preservation and promotion of all the humanities. As I often state in the mid-career sessions, nobody will ever care about your professional growth as much as you do! This is your career, make the most of it and get involved!

SEMC will be with you throughout (student, emerging professional, mid-career professional, senior leadership,) working to unite our Southeastern museums and provide opportunities for education, technical assistance, advocacy and training.

This is a wonderful period of growth and progress for our organization and I am excited to move with SEMC into the future!

— Zinnia Willits , SEMC President 59

SEMC WELCOMES ITS NEW PRESIDENT AND COUNCIL MEMBERS

Zinnia Willits

Heather Marie Wells

Deitrah Taylor

SEMC is delighted to welcome a new President, Vice President, and several new council members this year. Zinnia Willits, who will be serving a two-year term as the organization’s President, is the Director of Collections and Operations at the Gibbes Museum of Art in Charleston, South Carolina. As SEMC Vice President, Ms. Willits served on the Executive Committee and has been a member of SEMC Council since 2015. She was the Program Committee Chair for SEMC 2017 and is current Chair of the Scholarship and Evaluation

Committees. Ms. Willits is serving a second term on the AAM’s National Program Committee and is a Peer Reviewer for the Museum Assessment Program in the area of Collections Stewardship.

and AMA’s Staff of the Year in 2012. She is the AMA President and a board member of the AAM Media & Technology Professional Network.

Heather Marie Wells, taking over as Vice President, is the digital media project manager at Crystal Bridges Museum of American Art in Bentonville, AR. Her projects have received numerous awards from museum associations at the state, regional, and national levels.

In 2008 she was named the SEMC Emerging Professional of the Year,

Deitrah Taylor is an independent curator and historian. She will be taking on the role of Secretary.

She previously worked as Cultural Center Coordinator for Georgia College and State University in Milledgeville. Ms. Taylor has served two terms as a Council Director and initiated the SEMC Equity and Inclusion Action Team.

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Education in 2008. She holds a degree in business and a certificate in leadership and management from the U.S. Air Force. She previously worked as a media specialist, and as a training coordinator for a group of 18 government agencies. Martin was selected by the Tennessee Art Education Association as Art Museum Educator of the Year in 2005. In 2013, she was honored as Tennessee Art Educator of the Year.

Darcie MacMahon

Rosalind Martin

Pody Gay

Calinda Lee

Darcie MacMahon, who now steps into the role of Past President, is Director of Exhibits & Public Programs at the Florida Museum of Natural History. She has worked in the museum field for more than 25 years, following her passion for communicating with public audiences about natural and cultural history. Darcie has a background in archaeology, and has worked extensively with museum collections and exhibition development.

She oversees the development of numerous exhibits.

Director is Pody Gay, who is the Director of the Discovery Network, an outreach program of the Museum of Discovery, and a regional consortium comprised of museums, libraries, schools and STEM centers. Pody has worked for five museums in Arkansas and Louisiana, accruing more than twenty years of experience in informal education.

Taking on the role as a Council

Serving as a Council Director is Rosalind Martin who joined the education department of the Knoxville Museum of Art in 1993 and became the Curator of

Also serving as a Council Director is Calinda Lee, Vice President of Historical Interpretation and Community Partnerships at Atlanta History Center, where she considers historical interpretation for all aspects of the region’s past to develop the Atlanta History Center’s primary collections, historic houses, historic gardens, and public programs. She is particularly focused on innovative projects that connect Atlantans’ current concerns to history in meaningful, personal, and often surprising ways.

As a scholar and administrator, she has held teaching and administrative positions at Emory University, Loyola University Chicago and Spelman College. A prolific practitioner, she has developed projects for institutions including the Albuquerque Museum, the City Museum of Washington, DC, the Maryland Museum for African American Life and History, the Chicago History Museum, Emory University, and others. It is her deep belief that scholarship must be intimately linked with community to be of greatest service: “I try to make history personal every day, to connect lessons from the past to living in the present and planning for the future.”

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EMPATHY IN OUR DARKEST HOUR C U R AT I N G

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ORLANDO 64

Emilie S. Arnold

Exhibition Developer and former Assistant Curator of Exhibitions, Orange County Regional History Center, Orlando, FL

June 12, 2016 marked the darkest chapter in Orlando, Florida history: a gunman stole 49 lives and injured 63 more after last call on Latin Night at the popular gay nightclub Pulse. I was the assistant curator of exhibitions at the Orange County Regional History Center, living and working less than two miles away. I was stunned and sick — how dare a man visit something this horrible on my neighborhood, on Orlando’s LGBTQ community, on dozens of innocent people, partying in the club where they’d always felt safe?

Immense memorials of love and sorrow grew throughout downtown Orlando, filled with flowers, cards, candles, and other personalized tributes. Chief curator Pam Schwartz worked swiftly with city and county governments and the owners of Pulse Nightclub, impressing upon them the urgency of gathering these vulnerable objects into what became the One Orlando Collection. Soon, History Center staff worked for weeks through the sweltering Central Florida summer, gathering thousands of objects from the elements. One Orlando additions swelled the museum’s collection, which, until this point, had contained precious little addressing queer or Latinx experiences in Central Florida.

This initiative taught History Center staff to actively pursue stories visitors don’t see represented in our exhibition narratives.

In the long weeks and months that followed, I wrote three exhibitions featuring the One Orlando Collection, and each of them reflected stages of our community’s response. The first, Pride, Prejudice & Protest: GLBT History of Greater Orlando (2016), was in development at the time of the shooting, a collaboration with the virtual GLBT History Museum of Central Florida. The timing and subject demanded that we include and acknowledge the Pulse story. Using LED tea lights, photographs

of the murdered, and a small selection of artifacts, we worked together closely to pay Pulse tribute.

The second, One Year Later: Reflecting on Orlando’s Pulse Nightclub Massacre (2017), filled a 3,200 square foot gallery. This fully English-Spanish bilingual exhibition, a first for in-house History Center exhibitions, displayed heartfelt tributes from the One Orlando Collection, largely allowing the objects and their messages to speak for themselves. A tight gallery schedule made this exhibition powerfully brief: it remained open for only a week. The History Center held two special private showings for survivors and family, with bilingual volunteer therapists, comfort dogs, and rooms to rest and regroup.

The third, Another Year Passes: Orlando after the Pulse Nightclub Massacre (2018), featured hundreds of photographs, more than 600 artifacts, and a comfortable runtime of four months. Thematically, it attempted to assess the human wake two years after the violence, especially as the shootings in Las Vegas, NV and Marjory Stoneman Douglas High School in Parkland, FL had transpired within the previous twelve months.

Parkland in particular brought pain and rage bubbling to Orlando’s surface.

Because each shooting reawakens every injured nerve, the exhibition featured a “Sites of Solidarity” wall, acknowledging Orlando’s place in a string of terrible massacres. It contained an empty list to mark any future sites of violence, and I regret to report that it contained three American shootings by the time the exhibition closed in October 2018. Other themes included heartbreaking memorial objects left by children and parents, as well as gun reform and LGBTQ advocacy carried out

by Orlandoans since the shooting.

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overleaf: The History Center van parked and collection triage tent set up at Pulse Nightclub on July 25, 2016, undergoing efforts to preserve memorial objects for the One Orlando Collection.

In October 2016, the History Center opened the exhibition Pride, Prejudice & Protest: GLBT History of Greater Orlando, featuring this exhibition wall paying tribute to the 49 murdered at Pulse Nightclub. This was the first exhibition of One Orlando Collection materials.

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Museum guests explore the 2017 exhibition One Year Later: Reflecting on Orlando’s Pulse Nightclub Massacre. Though only on display for one week, the History Center welcomed unprecedented numbers of visitors from the Orlando community, including hundreds who attended private viewings for survivors and families.

The three exhibitions reflect Orlando’s (and my own) efforts to come to terms with a massacre that many will never be able to reconcile. Such narratives, woven with hundreds of photographs, memorial objects, and oral histories, are tributes from human museum professionals doing their damnedest to tell the hurting souls in their communities, “I see you. I hear you. I’m so sorry.

Your story belongs here.” Pulse Nightclub is the hardest subject I have ever curated. I know and must accept that no single exhibition can do every single experience justice, and that each one represents a moment in time and coping. The reality is — as with any traumatic and far-reaching event — that its story is a jagged thing, with as many shifting facets as the thousands and thousands of people it touched.

Though the events at Pulse Nightclub have faded from national attention as new horrors take place — I write this as I mourn for Pittsburgh, PA — Pulse never goes away. For this reason, our chief curator designed the One Orlando Collection to endure with Pulse’s scars: to be available over time to survivors and families of

the murdered, to continue to check in and capture their feelings through oral history. We worked, and the staff of the Orange County Regional History Center continues to work, to be Orlando’s history museum: to see the humanity of every one of those 49 killed, to maintain a home for this story through the years, and to follow and be present for every ensuing sympathy pain.

Emilie S. Arnold is an exhibition developer working in North Georgia and the Orange County Regional History Center’s former assistant curator of exhibitions. From 2016 to 2018, she was an integral member of the History Center team working in the field on the One Orlando Collection, curating three exhibitions interpreting the Pulse Nightclub massacre. The One Orlando Collection and her Pulse exhibition work have won multiple awards from the American Association for State and Local History, the American Alliance of Museums, and the Southeastern Museums Conference.

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THE CLIMATE EXPERIENCE OF MUSEUMS AND THE ROLE OF WE ARE STILL IN SARAH W. SUTTON

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scalating storm events and other climatedriven impacts on the southeastern region make talk of climate change and its effects unavoidable. Informed, strategic response is critical, yet we are all learning how to prepare for and respond to these events, and how to limit our contribution to the climate changes that cause them.

others by using the WASI portal to find examples for your institution. In 2019 WASI will begin place-based cross-sector partnerships on climate action in North Carolina and Virginia that will involve WASI cultural institutions. Soon the AAM Environment & Climate Network will begin free webinars with institutional cases and tips. By signing on you become part of the learning group.

How can we learn more, faster? By making learning a priority, and then doing it in a learning network to make it easier, faster, and better.

Think of the Paris Agreement as a commitment to the health of the planet, and the United Nation’s 17 Sustainable Development Goals (SDGs) as a mission statement for humans. The priorities are education and justice, health, food and poverty, and stewardship of the land and ocean. The reason greenhouse gases get the headlines is because they force the climate changes that affect those priorities. All cultural institutions already do work closely aligned with these priorities, we just haven’t organized them this way. “Climate Action” is making changes that align with the SDGs.

We Are Still In (WASI) is one learning group where cultural institutions are welcome, valued participants.

In 2017 when the federal government announced its intention to withdraw from the Paris Agreement, many people in many sectors just kept on doing the work.

Museums did. That day #MuseumsforParis was born.

Just five days later WASI announced. This spring WASI adopted #MuseumsforParis to anchor the Cultural Institutions Sector. WASI is now 3,500 (the number keeps growing) organizations stepping in to fulfill the country’s commitment to the goals of the 2015 Paris Agreement. The purpose is to develop and implement new approaches to adapting to climate mitigation, adaptation and resilience.

Forty cultural institutions and associations have joined big and small businesses, investors, higher education and health care, and cities, states, and tribes at WASI. Your organization can, too. SEMC is a signatory. So is the North Carolina Museum of Natural Sciences. So is Vizcaya Museum & Gardens and Hickory Hill and the Nashville Zoo. WASI is free. Anyone can look at the suggested list of commitments and choose which to pursue. For example, the staff at American Swedish Institute used the commitment options in strategic planning; now they’re aligning that work with the City of Minneapolis’ Action Plan. Your institution can learn from them and from

Leaders of charitable, educational community institutions know they are responsible for learning how to do this work on behalf of their supporters, visitors and neighbors. They are committing to making changes while still learning how to enact them. Come learn with them.

Please check the Events page of the AAM website to see when the Environment & Climate Network is hosting introductory calls for joining We Are Still In. Or arrange to talk with one of us about WASI and how it can fit your institution’s mission and practice. Contact sarah@sustainablemuseums.net.

Sarah W. Sutton is principal of Sustainable Museums, climate work. She is also a worldwide consultancy for cultural institutions beginning or expanding their environmental and the Sector Lead for Cultural Institutions for We Are Still In, and a member of the AAM Environment & Climate Network. She is co-author with Elizabeth Wylie of The Green Museum: A Primer on Environmental Practice.

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A SPECIAL THANKS SEMC Endowment Contributions

THE PAST PRESIDENTS CIRCLE

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.

Alexander Benitez David Butler Sheila Cork Jamie Credle Matthew Davis Martha Battle Jackson Nathan Moehlmann William Paul, Jr. Catherine Pears Zinnia Willits

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 Martha Battle Jackson Pamela Meister Richard Waterhouse Our Current Alderson Fellows (minimum $1,000) T. Patrick Brennan Michael Brothers W. James Burns William U. Eiland 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 75

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.

John Lancaster Nathan Moehlmann

Ruth Massey [Annual Meeting] Pam Meister [Annual Meeting] Mary Miller [JIMI] Gloria Sanders [JIMI] Sgt. Gary Spencer [JIMI] Mark Tullos [Annual Meeting] Michael Scott Warren [JIMI] L. Carole Wharton [Leadership Institute] Zinnia Willits [Leadership Institute]

Other SEMC Contributions

New or Renewal Memberships Received

George Bassi [JIMI] Mary Agnes Beach [JIMI] Austin Bell [JIMI] Mary Durusau [JIMI] John Fields [JIMI] Pody Gay [JIMI] Mary Hauser [JIMI] Joshua Heuman [JIMI]

SEMC thanks those who have renewed or joined our organization for the first time between July 1, 2018, and October 31, 2018. 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,

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please encourage them to join. To learn more about SEMC memberships and benefits, or to join online, visit semcdirect.net. Or contact Susan Perry, SEMC Executive Director, at sperry@semcdirect.net or 404.814.2048.

For your convenience, the last page of this newsletter is a membership application.

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BENEFACTOR ($75) Tamra Carboni, New Orleans, Louisiana Jamie Credle, Savannah, Georgia Jennifer Foster, Lexington, Kentucky Melanie Mathewes, Purcellville, Virginia James Quint, Columbia, South Carolina Michelle Schulte, Leesburg, Virginia Robert Sullivan, New Bern, North Carolina

RETIRED ($25) Jeanne Niccolls, Round Hill, Virginia Douglas Noble, Gainesville, Florida Sara Van Arsdel, Winter Park, Florida L. Carole Wharton, Daytona Beach, Florida

INSTITUTIONAL MEMBERS (Category 1: $50 ) Altama Museum, Vidalia, Georgia Appleton Museum of Art, Ocala, Florida

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The Guntersville Museum, Guntersville, Alabama The Oaks House Museum, Jackson, Mississippi The Selma-Dallas County Museum of History & Archives, Inc., Selma, Alabama U.S. Army Chaplain Corps Museum, Ft. Jackson, South Carolina Waterworks Visual Arts Center, Salisbury, North Carolina (Category 2: $150 ) Angola Museum, Angola, Louisiana Art Museum of the University of Memphis (AMUM), Memphis, Tennessee Barrington Hall/City of Roswell Georgia, Roswell, Georgia Cherokee County Historical Society, Canton, Georgia East Tennessee Historical Society, Knoxville, Tennessee Hickory Landmarks Society, Hickory, North Carolina International Museum of the Horse, Lexington, Kentucky Kennesaw State University – Museums, Archives & Rare Books, Kennesaw, Georgia Maria V. Howard Arts Center, Rocky Mount, North Carolina

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congratulations

Bass Museum of Art.

FLORIDA The Bass, Miami Beach’s contemporary art museum, is the recipient of a Bank of America 2018 Art Conservation Project grant in the amount of $100,000.

The grant funding will allow the museum to conserve a treasured work in the museum’s founding collection, the Coronation of the Virgin (c. 1492) altarpiece by Renaissance painters Sandro Botticelli (b. 1445, d. 1510) and Domenico Ghirlandaio (b. 1449, d. 1494). The work was one of over 500 artworks and artifacts gifted to the City of Miami Beach in 1964 by collectors John and Johanna Bass, founding The Bass Museum of Art. The altarpiece painting Coronation of the Virgin is a significant collaboration between two of Italy’s most important Renaissance painters, Botticelli and Ghirlandaio. The Coronation represents the artists’

only known collaborative effort and the sole surviving example of their shared participation in the design and execution of a single composition. The painting’s three angels and the rest of its heavenly scene above are attributed to Botticelli, whereas the saints, monk and landscape below are attributed to Ghirlandaio.

This work is one of two altarpieces originally placed in the monastery Camaldolese Badia of San Giusto and San Clemente in Volterra, Italy. ¶ The painting suffered losses during the transfer process from the altarpiece’s wooden surface to canvas. Conservation will begin with technical, elemental and scientific analyses, as well as research, technical photography and crosssection sampling. Analysis and research will determine the means by which to reline and retack the canvas.

Aesthetic treatment will include surface cleaning, varnish removal or reform, refining the most discolored 92

areas of overpaint, and retouching and glazing to improve the design layer. A final varnish layer will be applied to protect the painting and even out its surface.

After conservation treatment, Coronation of the Virgin will be presented at the museum within a permanent collection exhibition, combining a selection of masterworks from the collection alongside contemporary art.

In 2020, the painting will travel to Paris, on loan to the Institut de France, Musée Jacquemart-André. ¶ The Bass is one of 21 institutions and collections across nine countries to receive the 2018 Art Conservation Project grant, including Galleria Borghese in Rome, Kunsthaus in Zurich, Museo de Arte de Lima in Peru, Philadelphia Museum of Art, Tokyo National Museum, Solomon R. Guggenheim Museum in New York City, and San Francisco Museum of Modern Art (SFMOMA). ¶ Since the Art Conservation Project began in 2010, Bank of America has provided grants for more than 150 projects in 31 countries on six continents to conserve paintings, sculptures, and archaeological pieces that are critically important to cultural heritage and the history of art.

GEORGIA Georgia College proudly announces the reopening of Andalusia, the home of famed author and Georgia College alumna Flannery O’Connor. Tours of the home and grounds began Tuesday, June 19. “We are delighted to reopen Andalusia for public tours,” said Matthew S. Davis, director of historic museums at Georgia College.

“Following a period of stabilization and repairs, visitors will experience Andalusia in a whole new way that includes new objects, a full- house interpretation and overall improvements to the grounds.” ¶ Davis added the work completed is “the first step toward a full restoration. We hope that the public visits often and continues to monitor the progress of our work on our website and social media pages.” ¶ The Flannery O’ConnorAndalusia Foundation gifted the site to the Georgia College & State University Foundation in August 2017.

Since then, the grounds have been closed while needed repairs were made. ¶ “The first step was to stabilize the building and grounds. After this, we were able to

Andalusia.

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focus on the collection by providing individual artifact analysis and much-needed care and conservation,” says Curator Meghan Anderson. “The guided tours will allow visitors access into each of the main floor rooms to witness the space as the O’Connor’s would have, which is something new the public can look forward to.” ¶ O’Connor, who graduated from Georgia State College for Women, now Georgia College, in 1945, lived at Andalusia from 1951 until her death in 1964. Many of her famous works were written during that time. ¶ Listed on the National Register of Historic Places, Andalusia is brought to life on many occasions in O’Connor’s published letters. In the 1950s, Andalusia was a dairy farm operated by O’Connor’s mother, Regina Cline O’Connor. The agricultural setting of Andalusia not only provided O’Connor a place to live and write, but also a landscape in which to set her fiction.

TENNESSEE The Knoxville Museum of Art (KMA) is the recipient of a major bequest from the late William Starke Shell, a former architecture professor at the University of Tennessee. Professor Shell left his entire estate to the Knoxville Museum of Art upon his death on June 11, 2017. The Shell residence, a luminous glass box perched atop a cliff high above the Tennessee River in Lakemoor Hills, is a masterpiece of Modernism designed by Professor Shell. In addition to the house and its custom furnishings, the bequest includes a contiguous undeveloped lot. ¶ The Shell house, its furnishings, and adjacent lot are being sold with protective easements. The easements were developed with the help and support of Knox Heritage — a local organization dedicated to the preservation of significant buildings in the region — to ensure the ongoing preservation of this 94

The Shell House, Knoxville Museum of Art.

Knoxville architectural treasure. The KMA, dedicated to the care and preservation of significant works of art from the region, is equally committed to the care and preservation of the unique property entrusted to it, and has made a significant investment in the maintenance and repair of the house to prepare it for sale. ¶ A task force of museum stakeholders chaired by former KMA board chair Richard Jansen was formed in the summer of 2017 to make recommendations to the KMA Board of Trustees about the disposition of the Shell property. After long and careful consideration of ways the property might be used or developed, the task force recommended unanimously that the house and adjoining lot be sold with the protection of easements that will ensure the property’s ongoing preservation.

The protective easement will be monitored with the assistance of Knox Heritage, which oversees several properties in the region that are similarly protected.

¶ According to KMA Executive Director David Butler, “the decision to sell the property with protective easements was the best one for the house and for the KMA, and the one we feel best honors Professor Shell’s intentions. We are grateful to be the beneficiary of his vision and generosity.” Once the sale of the property is complete, the KMA Board of Trustees, with the input of the Shell bequest task force, will determine the use of the sale proceeds that best honors the memory and intentions of Professor Shell and furthers the mission and work of the KMA.

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exhibitions

Ceramics on view at the Lightner Museum.

FLORIDA

GEORGIA

November’s tour of unique and special treasures of the Lightner Museum in St. Augustine offers guests an intimate encounter with a select few of the Lightner’s eclectic relics. ¶ Curator, Barry Myers, will be discussing the fascinating, beautiful, and sometimes bizarre world of German and Bohemian ceramics and glass. He will also touch on the first European discovery of porcelain, which originated in Germany c. 1710. Until the early 18th century the Chinese held the secret of true porcelain, and had kept it secret for thousands of years.

Locomotion: Railroads and the Making of Atlanta, opens to the public at Atlanta History Center on Saturday, November 17, 2018. The cornerstone of the exhibit is the restored locomotive Texas. The engine was built in 1856 for the Western & Atlantic Railroad, which had established its terminus in 1837 at the site that became Atlanta. For that reason, the locomotive is an important link to the city’s origins. ¶ The detailed exhibition accompanying the Texas will interpret the major role railroads played in transforming Atlanta into the 96

The Texas at the Atlanta History Center.

transportation hub and commercial center it is today.

The exhibition captures Atlanta’s beginning, in 1837, when a surveyor drove a stake into the ground in a North Georgia forest previously inhabited by Native Americans. The stake marked the end point for the Western & Atlantic Railroad designed to run north to the Tennessee River near present-day Chattanooga. ¶ The town that grew up around that stake was called Terminus before being named Marthasville and then Atlanta in the 1840s. Railroads connected Georgia’s sea ports and navigable waterways to the nation’s interior. ¶ The Texas and the new exhibit are housed in the

2,000-square-foot, specially designed, glass-fronted Rollins Gallery, which is accessed from the Fentener van Vlissingen Family Wing and opens into the new Lloyd and Mary Ann Whitaker Cyclorama Building.

Appropriately, the look of Rollins Gallery is inspired by historic railroad repair shops, with exposed steel girder columns and a brick wall. ¶ The Texas locomotive was a key part of the Cyclorama attraction at Atlanta’s Grant Park for nine decades. When The Battle of Atlanta cyclorama painting opens to the public on February 22, 2019, Atlanta History Center guests can visit the Texas as well as experience the cyclorama with its accompanying 97

Richard Hunt gathering scrap in a junkyard at Clybourn and Sheffield Avenues, Chicago, 1962.

Richard Hunt (American, b. 1935), untitled, 1963. Welded aluminum, 25 × 26 × 15. Private collection. Photo by Chris Brown.

interpretive experiences and exhibitions. ¶ Atlanta History Center President and CEO Sheffield Hale said, “The Texas locomotive symbolizes Atlanta’s longtime relationship with railroads and the city’s importance as a hub for people, commerce, and ideas. No artifact can be more important for telling Atlanta’s origin story than this Western & Atlantic locomotive.” ¶ The Texas and the locomotive General, which is the star attraction at the Southern Museum of Civil War and Locomotive History in Kennesaw, Georgia, are the sole surviving locomotives that once served the Western & Atlantic (W&A) Railroad, a company integral in Atlanta’s early development. ¶ Unlike the hundreds of locomotives that serviced the W&A RR and its successors, the Texas and the General evaded the scrap heap because of their roles in 1862’s Great Locomotive Chase. U.S. Army raiders commandeered the General from the

town of Big Shanty (now Kennesaw) and drove it north toward Chattanooga, destroying bridges and the W&A line. They were finally caught by Confederate forces that had pursued aboard the Texas. The Chase was the subject of a 1926 Buster Keaton film and a popular 1956 Disney movie as well as in dozens of books. ¶ The Atlanta History Center dedicated $500,000 to Texas conservation. Major funding for the new gallery was provided by the Gary W. Rollins Foundation. CSX is a major sponsor for the accompanying exhibit.

The Georgia Museum of Art at the University of Georgia presents the exhibition Richard Hunt: Synthesis, on view to the public through February 3, 2019. ¶ Hunt is an African American sculptor who was raised in Chicago. His mother encouraged his artistic interests by taking him to visit museums at a young age. When 98

he was 13, Hunt attended the Junior School of the Art Institute of Chicago, where he explored a variety of working materials. The German sculptor Nelli Bar became his mentor and inspired him to follow a career path as an artist. ¶ Hunt’s early work and sculptures show his interest in animals and plants. His first big success came when the Museum of Modern Art, New York, bought one of his sculptures in 1957. Life magazine named him one of its “Red Hot Hundred” young leaders in 1962. His big break in public sculpture came in 1967 with Play, which the John J. Madden Health Center in Illinois hired him to create. This work represented the start of a new phase in Hunt’s career, where he started to make works that responded to architectural specifics as well as the personality of the surrounding community. ¶ Richard Hunt: Synthesis will focus on formative periods in Hunt’s career. The artist has created 130-plus public commissions in more than 24 states. The exhibition features both his sculptures and his works on paper, showing the different stages of his career from the 1950s to the present.

LOUISIANA The Hermann-Grima House hosts a unique exhibition explaining the customs and ceremonies surrounding death and mourning in a Catholic Creole New Orleans household. The historic French Quarter home is now decorated to interpret the mourning habits of the 19th century and coincide with the anniversary of the death of Madame Francois Albert Xavier Grima (Marie Anne Filiosa,) mother of Felix Grima, who died on October 15th, 1850. Mrs. Grima passed away on the property at the age of 96. ¶ Upon entrance visitors will notice black cloths covering mirrors, portraits of the deceased, and even a funeral for Mrs. Grima in the parlor of the home. Guests will learn about both the religious and cultural significance of death in New Orleans, as it permeated every aspect of the southern Victorian experience. As the tour proceeds, they will view beautiful and haunting black onyx jewelry, death notices, mourning clothes, playthings in the nursery, and other curiosities.

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The Order of Things, 2016, by Lauren Fensterstock (American, b. 1975); Shells, wood, mixed media, 78 × 240 × 26 inches. Image courtesy of the artist and Claire Oliver Gallery. © Lauren Fensterstock.

SOUTH CAROLINA Celebrating the achievements of women artists, this fall the Gibbes Museum of Art presents A Dark Place of Dreams: Louise Nevelson with Chakaia Booker, Lauren Fensterstock, and Kate Gilmore. On view through January 6, 2019, the exhibition features the monochromatic assemblages of Louise Nevelson (1899–1988), a pioneering American sculptor of the twentieth century, and her impact on the next generation of highlyacclaimed women sculptors represented by Chakaia Booker (b. 1953), Lauren Fensterstock (b. 1975), and Kate Gilmore (b. 1975). Born in Kiev, Russia (presentday Ukraine), of Jewish descent, Nevelson and her family immigrated to the United States to escape religious persecution. In the 1930s, she broke into the male-dominated New York art scene, and with extraordinary talent and sheer determination, emerged as a force in American sculpture. ¶ In her most iconic works, Nevelson utilized wooden objects gathered from urban debris piles to create monumental installations. Her lasting impact on contemporary sculptors who expand

the tradition of assemblage in innovative and provocative ways is most evident in the works of Booker, Fensterstock, and Gilmore. Booker takes the ordinary — tires — and renders them into the extraordinary.

Architectural in scale, she imbues her monumental sculptures with new life by shearing, shredding, slicing, bending, and folding repurposed rubber. ¶ Renowned for her inventive interpretations of nature and gardens, Fensterstock crafts dark, supernatural worlds of monochromatic landscapes, often fashioned in all black. Gilmore employs rocks, jars, paint, and wood in hybrid performance-based sculptures. In A Dark Place of Dreams, these varied objects — from rubber tires to shells to paint in motion — register as somber black volumes dissolving into complex surfaces, echoing the mystery and scale of Nevelson’s pieces.

Together, the works on view speak to the incredible ingenuity and creative vision of female sculptors working in the United States today. ¶ A Dark Place of Dreams is organized by the Museum of Contemporary Art Jacksonville, a cultural institute of the University of North Florida.

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people and places

Jonathan Bloch.

Nicole Cannarozzi.

FLORIDA

continue his duties as a curator of vertebrate paleontology, a position he has held since 2014. ¶ Archaeologist and collections assistant Nicole Cannarozzi was recently appointed collections manager of the museum’s environmental archaeology program. Cannarozzi originally started at the Florida Museum in 2004 as a faunal analyst after graduating from the University of Florida with a bachelor’s degree in anthropology. She’s worked with the museum in various positions over the past 14 years and is presently a UF anthropology doctoral student. Cannarozzi said she wants to focus on outreach, with a goal of recruiting more volunteers and participating in museum-sponsored and external events to expose more people to environmental archaeology. The Florida Museum environmental archaeology program was established in 1961. Its researchers use soil and animal and plant remains from archaeological sites to

Florida Museum of Natural History has made two new appointments. Jonathan Bloch has been appointed chair of the department of natural history. In the new role, Bloch plans to work with the museum’s team of faculty curators, collections managers, postdoctoral researchers and students to continue documenting the world’s biodiversity and cultural heritage.

One of the largest university-based resources in the world, the Florida Museum’s department of natural history employs 30 faculty curators and 22 collection managers who oversee about $65 million in external grant support for research and collection activities and help maintain more than 40 million specimens and artifacts. Bloch joined the Florida Museum in 2004 as an assistant curator of vertebrate paleontology. He will

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Justin Rabideau.

better understand past human interactions with the natural environment.

GEORGIA Justin Rabideau, Director of the Bernard A. Zuckerman Museum of Art, passed away October 24th. A statement released by the University noted that “Justin was a valued colleague, and his loss will be felt deeply not only within our KSU community, but also within the Atlanta arts community and beyond.” An accomplished printmaker and sculptor, Justin received his Master of Fine Arts at the University of Georgia. After various commissions and positions in New York and Florida, as well as Chile and Greece, Justin accepted a position with KSU’s Museum, Archives and Rare Books in August of 2012. He was promoted to Director of the

Bernard A. Zuckerman Museum of Art (ZMA) and was instrumental in opening the ZMA in March of 2014. ¶ During his time at ZMA, Justin oversaw 45 exhibitions, including student and faculty exhibitions as well as nationally-known artist exhibitions. In October of this year the ZMA was honored with a coveted Gold award from the Southeastern Museum’s “Excellence in Exhibitions” 2018 Competition for Tomashi Jackson: Interstate Love Song.

KENTUCKY The American Saddlebred Museum announced the opening of its newly renovated Gift Shop located at 4083 Iron Works Parkway, Lexington, KY, inside the Kentucky Horse Park. The shop has been updated and expanded to better serve customers. New features 103

The American Saddlebred Museum’s new gift shop.

include the addition of windows, updated fixtures and lighting. Historical displays which include objects and quotes from American Saddlebred owners are placed throughout the shop to continue visitor engagement with the Museum’s mission to promote the heritage of the American Saddlebred breed. Museum Executive Director Jennifer Foster says: “Our updated gift shop provides an expanded space for shopping as well as a contemporary visual appeal. This is an exciting time for the Museum. We will soon be starting Phase II of our gallery renovation and the Shop provides a preview of what is ahead.” The Gift Shop is designed by Louisville based company Solid Light and is part of the first phase of the Museum’s renovation. Gift Shop merchandise includes equine themed accessories, clothing, home goods, kitchenware, an extensive line of American Saddlebred specific items and Museumexclusive designs.

MISSISSIPPI The Walter Anderson Museum of Art (WAMA) in Ocean Springs, is pleased to announce Julian Rankin as its new Executive Director effective October 15, 2018. Rankin joins WAMA by way of the state capital of Jackson, where he most recently served as the founding director of the Center for Art & Public Exchange at the Mississippi Museum of Art. ¶ “This is truly an exciting

time for this Museum,” said Jaklyn Wrigley, President of the Board of Trustees at WAMA. “We conducted a diligent search – interviewing candidates from Michigan to Miami, and we could not have hoped for a better conclusion to the process. Julian fits so perfectly into the culture of WAMA. I have no doubt that he will use his multifaceted skill set and unrivaled enthusiasm to propel us to new heights.” ¶ Rankin was raised in the Mississippi Delta and in Oxford, Mississippi. He is a graduate of the University of North Carolina at Chapel Hill, with a degree in English and Creative Writing. His professional background includes marketing and operations internships at CNN headquarters in Atlanta and in the Washington, D.C. office of former United States Senator Thad Cochran. Rankin is the recipient of the Southern Foodways Alliance’s first annual residency at Rivendell Writers Colony. He is the author of the 2018 book, Catfish Dream: Ed Scott’s Fight for his Family Farm and Racial Justice in the Mississippi Delta, published by the University of Georgia Press as part of the Southern Foodways Alliance Studies in Culture, People, and Place series. For the past eight years, he has held communications, community engagement, and leadership positions at the Mississippi Museum of Art under the guidance of Director Betsy Bradley. Rankin makes the move to Ocean Springs with his wife Caroline and son Julian. ¶ Rankin joins WAMA at a time of increased energy and momentum. The museum has embarked 104

Julian Rankin.

Todd Herman.

on a strategic planning process that will set forth a new vision for interdisciplinary partnerships with cultural organizations, non-arts entities, and public institutions; innovations in visitor-centered museum practice and arts education; and deep collaboration with practicing artists, community stakeholders, and the Anderson family, who continue to give life to WAMA’s mission. As his first act as Executive Director, Rankin will journey to Horn Island, the barrier clime that held such mystery and inspiration for Walter Anderson.

chair of the board effective July 1. ¶ Herman oversaw a dramatic period of growth, fundraising, and forwardlooking planning at the Arkansas Arts Center. His accomplishments include raising $16 million to repay debt and increase the museum’s endowment, and hiring new curators to expand exhibition programs. ¶ Prior to Arkansas, Herman was chief curator for six years at the Columbia Museum of Art in South Carolina; and he spent seven years at the Cleveland Museum of Art. He has held two Samuel H. Kress Fellowships and has taught art history at universities in Italy, South Carolina, Virginia, and in the Midwest. He received undergraduate degrees in art history and microbiology from James Madison University and his Ph.D. in art history from Case Western Reserve University with a focus on Italian Renaissance painting. ¶ Herman joins the Mint during a period of growth, with priorities including strengthened community engagement; a grand re-opening of Mint Museum Uptown following a temporary closure for improvements; an ambitious schedule of both traveling and Mint-organized exhibitions for the coming fiscal year; and plans for expanded study and exhibition of fashion and ceramics at Mint Museum Randolph. Herman replaces Bruce LaRowe, interim president & CEO of the Mint since June 2017.

NORTH CAROLINA The Mint Museum Board of Trustees has unanimously approved naming Dr. Todd Herman as the Mint’s new President & CEO. Herman, who has been the Director and CEO of Arkansas Arts Center in Little Rock, Arkansas since 2011, joined the Mint earlier this summer. ¶ Herman said, “Charlotte has a vibrant and growing arts community and I look forward to positioning the Mint — North Carolina’s first art museum — as an active, collaborative participant in the local, regional, and national arts conversation. ¶ “Todd is the perfect person to lead the Mint through its next phase of growth, and I am thrilled that this is my first public announcement as the new chair of The Mint Museum’s Board of Trustees,” said Sean Jones, managing partner of K&L Gates in Charlotte, who became

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what’s happening Send information for What’s Happening to Susan Perry at sperry@semcdirect.net.

NATIONAL MEETINGS Museums Advocacy Day 2019 is February 25–26, 2019.

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.aamus.org.

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 2019 in Jackson, MS. For more information, visit www.blackmuseums.org.

STATE MEETINGS Alabama Museums Association Date: TBA Location: TBA Arkansas Museums Association Date: March 26–28, 2019 Location: Pine Bluff, AR

Georgia Association of Museums and Galleries Date: January 23–25, 2019 Location: Atlanta, GA Kentucky Museum and Heritage Alliance Date: TBA Location: TBA Louisiana Association of Museums Date: TBA Location: TBA Mississippi Museums Association Date: TBA Location: TBA North Carolina Museums Council Date: March 24–25, 2019 Location: Asheville, NC South Carolina Federation of Museums Date: March 20, 2019 Location: Horry County, SC Tennessee Association of Museums Date: March 20–22, 2019 Location: Clarksville, TN Virginia Association of Museums Date: March 23–26, 2019 Location: Lynchburg, VA West Virginia Association of Museums Date: March 29–31, 2019 Location: Kingwood, WV

Florida Association of Museums Date: TBA Location: TBA

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For non-members, there is a flat fee of $20 each job description, regardless of the word count. SEMC Member Institutions may post a job announcement to this forum and pay-per-post by following the link: Job Posting $20.

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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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $1,000 $_______  Corporate Partner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $2,100 $_______ A special gift of $_________ is enclosed to help support SEMC’s endowment. ___ Check enclosed (payable to SEMC) ___ I wish to pay with a credit card MasterCard  Visa  AMEX Credit Card #_____________________________________ Exp. Date ___________ | Signature (required for all credit card charges): _____________________________________________ mail to: SEMC/PO Box 550746/Atlanta, GA 30355 | or fax to: 404.814.2031 | SEMC FEIN #54-1042825

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