INSIDE S E MC
winter 2016 | www.semcdirect.net The Newsletter of the Southeastern Museums Conferenceâ€ƒ
ON THE COVER Giuseppe Arcimboldo (Italian, 1527-1593), Fire, 1566, oil on panel, 26.125 × 20.0625 in. (66.5 cm × 51 cm).
Kunsthistorisches Museum, Vienna, Austria. Fire is featured in the High Museum of Art’s exhibition Habsburg Splendor.
15 Executive Director’s Notes Susan Perry
Save the Date for Charlotte: SEMC Annual Meeting 2016 Thank You! To Our Sponsors, Exhibitors, Hosts,
and Committees for SEMC Annual Meeting 2015 in Jacksonville
SEMC 2015 Award Winners
SEMC 2015 Scholarship Winners Share Their Experience
Eliza Newland, Amy Christensen, Tonya Parker, Shannon Browning-Mullis, Jeff Bruce, and Liya Deng
Curator’s Corner Victoria Cooke
Researching REMIX: Strengthening an Exhibition’s Core Through Community Input
64 Bob Mayo’s SEMC Memories
In Honor of SEMC’s New Membership Category for Retired Museum Professionals, Past President of SEMC Bob Mayo Recalls Earlier Days in the Museum World and SEMC
A Special Thanks Endowment and Membership Contributions
54 Congratulations 56 Construction 62 Exhibitions 68 People and Places 76 What’s Happening 79 Important Dates 82 SEMC Job Forum 82 Get Social with SEMC 82 SEMC Membership Form 83 Acquisitions
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 Mary S. Miller Manager of Communications and Member Services
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
semc officers David Butler President 865.524.1260 firstname.lastname@example.org Executive Director, Knoxville Museum of Art, Knoxville, TN Darcie MacMahon Vice President 352.273.2053 email@example.com Exhibits Director, Florida Museum of Natural History, Gainesville, FL Robin Seage Person Secretary 601.442.2901 firstname.lastname@example.org Branch Director, Historic Jefferson College, Washington, MS Robin Reed Treasurer
Inside SEMC is published four times a year by SEMC. Annual subscription is included in membership dues.
757.690.8962 email@example.com Director, Casemate Museum, Fort Monroe, VA
Design: Nathan W. Moehlmann, Goosepen Studio & Press
Mike Hudson Past President 502.899.2356 firstname.lastname@example.org
The deadline for the Spring 2016 newsletter is February 19, 2016. To submit information for the newsletter, please contact the Council Director in your state.
Director, Museum of the American Printing House of the Blind, Louisville, KY
semc directors Priscilla Cooper
352.273.1925 | email@example.com
Registrar & Asst. Dept. Chair,
Interim President & CEO, Birmingham Civil
Florida Museum of Natural History,
Rights Institute, Birmingham, AL
Gainesville, FL 32611
202.633.4513 | firstname.lastname@example.org
Assoc. Dir. Community & Constituent Services
Dir. of Cultural Services, Louisiana
Smithsonian’s National Museum of African
State Museum, New Orleans, LA
American History and Culture, Wash., D.C.
Executive Director, River Discovery
Executive Director, Alexandria Museum
Center, Paducah, KY
of Art Alexandria, LA 71301
Deitrah J. Taylor
478.320.4010 | email@example.com
Cultural Center Coordinator, The Cultural
Director, Desoto County Museum,
Center, Georgia College and State
University, Milledgeville, GA
843.722.2706 ext. 32
Dir. of Education, Reynolda House Museum
Dir. of Collections Admin., Gibbes Museum
of American Art, Winston-Salem, NC
of Art, Charleston, SC 29401
Heather Marie Wells
Dir. of Interpretation & Education,
Digital Media Specialist, Crystal Bridges
Belle Meade Plantation, Nashville, TN
Museum of American Art, Bentonville, AR
executive director’s notes Susan Perry
n 2015 museums stood up and responded institutionally to social justice issues and tragedies in our communities. We questioned the role and responsibility of museums within our communities. We ignited a passion for museums and their impact on communities. SEMC Council, Program Committee, Corporate Sponsors and the Local Arrangements Committee contributed to the tremendous success of SEMC 2015 Annual Meeting in Jacksonville, Florida. If you were among over 500 attendees at this conference, you experienced cultural collaboration and collective vision in off-site tours, workshops, and evening events of Jacksonville museums, zoo, and gardens. Seventy-two program sessions and seventy Resource Expo exhibitors provided new ideas, professional expertise and best practices. In the keynote address “Museums Are Awesome,” Nick Gray with Museum Hack presented innovative ways to engage new audiences. I enjoyed listening to our members and discussing our joint vision for SEMC. SEMC wants to serve your diverse needs, strengthen our network, and provide more learning opportunities for museum professionals at all career levels. This year Mary Miller joined SEMC staff as the Manager of Communications and Member Services. SEMC has expanded our social media coverage and digital communications. In 2015 SEMC added two new levels of membership. SEMC surveyed our members to clarify the diversity
of museum professionals and programs in the Southeast region. SEMC realizes the critical need to improve the diversity of our membership to better serve our communities. In the New Year, we will move forward with our joint vision for SEMC’s impact and relevance to museum professionals. SEMC wants to provide more membership benefits and resources so let us know your needs. Thanks to the generosity of the Smithsonian’s National Museum of African American History and Culture (NMAAHC), SEMC is pleased to offer for the third year the John Kinard Scholarship Fund for two staff members of AAAM institutional museums or individual AAAM members to attend SEMC’s Jekyll Island Management Institute (JIMI). This past year SEMC provided nine scholarship opportunities for museum professionals and students to participate in SEMC annual conference. SEMC annual conference is an opportunity to convene creative thinkers to envision innovative programs, dynamic exhibitions, best practices and fundraising resources. Plan to attend SEMC 2016 Annual Meeting, October 10–12 in Charlotte, North Carolina. Submit a program proposal for the conference by January 31 deadline. In the New Year, let’s move forward to grow our network and provide more opportunities for Southeast museum professionals. Happy New Year!
SEMC 2016 ANNUAL MEETING
SAVE THE DATE: October 10–12
CHARLOTTE Meet us in Charlotte, North Carolina, next October for the 2016 Annual Meeting. Charlotte is a city on the move, but growing up hasn’t stripped this first-rate metropolis of its warmth and southern charm. Known as the Queen City, Charlotte lives up to its royal namesake with its rich history and culture, flavorful culinary scene, shopping, adventure and southern hospitality. Where Tradition and Innovation Meet SEMC 2016 Annual Meeting #SEMC2016 October 10–12, 2016, Charlotte, North Carolina Annual Meeting Registration: $250 early (5/2 – 7/15) | $300 regular (7/16 – 9/26) Resource Expo exhibit booths: $750 (before 7/15)
Important Dates! July 15: Annual Meeting Early Registration deadline July 15: SEMC Exhibition Competition deadline July 15: SEMC Publication Competition deadline July 15: SEMC Technology Competition deadline July 15: SEMC Scholarship Applications deadline July 15: Resource Expo early registration deadline August 5: SEMC Awards Nomination deadline September 9: Hotel Room Block deadline September 26: Annual Meeting Regular Registration deadline
For more information, visit www.SEMCdirect.net, email membershipservices@SEMCdirect.net, or call 404.814.2048.
Annual Meeting Hotel: Sheraton Charlotte Hotel, room rate $146 + tax
to Our Sponsors, Exhibitors, Hosts, and Committees for SEMC Annual Meeting 2015 Jacksonville SEMC 2015 Annual Meeting Sponsors GOLD SPONSOR Travelers BRONZE SPONSORS Alexander Haas (Directors’ Luncheon) Case Antiques Inc., Auctions & Appraisals (SEMC General Session) L. Carole Wharton, LLC (SEMC Council’s Legacy Reception) SunTrust (Registration Table) Malone Design/Fabrication (Grand Opening Reception) Solid Light, Inc. (Grand Opening Reception) AdmTwo (Charging Station) LANYARD SPONSOR HealyKohler Design
HOSPITALITY SUITE SPONSOR Cinebar Productions, Inc. MOBILE GUIDE SPONSOR CultureConnect (Jacksonville) OnCell – TourSphere (Conference Program) TRANSPORTATION SPONSOR Visit Jacksonville EVENING EVENT Cummer Museum of Art & Gardens Museum of Contemporary Art (MOCA) Museum of Science & History (MOSH) Jacksonville Zoo & Gardens The Ritz Theatre & Museum & Cultural Council OFF-SITE TOUR/ WORKSHOP SPONSORS Cummer Museum of Art & Gardens 9
Federal Reserve Bank of Atlanta- Jacksonville Branch Jacksonville Maritime Heritage Center Karpeles Manuscript Library Museum Museum of Contemporary Art (MOCA) Museum of Science & History (MOSH) The Ritz Theatre & Museum SEMC SCHOLARSHIP SPONSORS SEMC 2014 Silent Auction (SEMC Traveling Scholarships) David Butler (President’s Scholarship) John A. Woods Appraisers (Historic House Museum Professional Scholarship) SERA SPONSORS Past Perfect Software (Dan Silosky Award for Excellence in Registration and Collections Management) Transport Consultants International (Registrars Respite co-sponsor) Willis Fine Art, Jewelry and Specie (Registrars Respite co-sponsor)
Resource Expo Exhibitors 10-31 1220 Exhibits AdmTwo Alloy: A Division of Intermark Group American Alliance of Museums Aon/Huntington T. Block Association of Academic Museums & Galleries Aurora Storage Products, Inc. Blackbaud Capitol Museum Services, Inc. Case Antiques, Inc. Auctions & Appraisals Charlotte Van & Storage Charlton Hall Auctions Cinebar Productions, Inc. Clark Patterson Lee The Crowley Company CultureConnect dmdg2 Donning Company Publishers Fabrication Specialists, Inc. FedEx Custom Critical Florida Association of Museums
Florida Museum of Natural History Traveling Exhibits Program Frina Design Gaylord Bros. Glavé & Holmes Architecture Goosepen Studio & Press Haizlip Studio Harmon-Meek Gallery Hasselblad Bron Inc. HealyKohler Design Hecht Burdeshaw Architects, Inc. Hillman & Carr Inc. Hollinger Metal Edge J. M. Kelley, Ltd. K Design Signs & Exhibits Mallory Alexander International Logistics Malone Design/Fabrication MasterPak MBA Design & Display Mid-America Arts Alliance MuseumRails MuseumTrek by TrekSolver, Inc. Music Maker Relief Foundation National Trust Insurance Services, LLC Northeast Document Conservation Center Olympus Group OnCell-TourSphere OWLS PastPerfect Software Patron Technology Patterson Pope, Inc. Plow Digital/Plow Games Print File Prism Technologies Inc. Q Media Productions, Inc. Quatrefoil Associates Riggs Ward SEMC Career Center Shibui Design Skinner, Inc. Solid Light, Inc. Studio Displays Inc. The Charleston Mint The Design Minds, Inc. The Fine Arts Conservancy The History Workshop Universal Fiber Optic Lighting
The University of Oklahoma, College of Liberal Studies Tour Mate Systems U.S. Art Company
Local Arrangements Committee Hope McMath, Cummer Museum of Art & Gardens (Chair) Cinda Sherman, Arbus Magazine/ArtsScene Chris Hoffman, Beaches Museum & History Center Andrew Morrow, Beaches Museum & History Center Juâ€™Coby Pittman, Clara White Mission/Eartha M. M. White Museum Tony Allegretti, Cultural Council of Greater Jacksonville Jan Dorsey, Cummer Museum of Art & Gardens Lynn Norris, Cummer Museum of Art & Gardens Cara Bowyer, Cummer Museum of Art & Gardens Joshua White, Cummer Museum of Art & Gardens Lesley Mace, Federal Reserve Bank of Atlanta, Jacksonville Branch
Lane Manis, ICAA Florida David Case, ICAA Florida Wyatt Taylor, Jacksonville Fire Museum Emily Liska, Jacksonville Historical Society Mary Ellen Gwymes, Jacksonville Maritime Heritage Center Paul Ghiotto, Jacksonville Maritime Heritage Center Kathy Lussier, Jacksonville Public Library Kathleen Krizek, Jacksonville Public Library Tony Vecchio, Jacksonville Zoo & Gardens Christine LoRusso, Jacksonville Zoo & Gardens Richard Minor, Karpeles Manuscript Library Karen Droege, Mandarin Museum Sandy Arpen, Mandarin Museum Denise Reagan, Museum of Contemporary Art (MOCA) Jacksonville Allison Galloway, Any Given Child Paul Wenglowsky, Museum of Science & History (MOSH) Barbara Goodman, National Park Service Adonnica Toler, Ritz Theatre & Museum Jennifer Covington, Ritz Theatre & Museum
Carmen Godwin, Riverside Avondale Preservation (RAP) William Hoff, Springfield Preservation (SPAR) Nicole Chapman, Visit Jacksonville Kimberly Morgan, Visit Jacksonville Elizabeth Hall, World Golf Hall of Fame & Museum Annual meeting logo: Margaret Fishback, Graphic Designer, Jacksonville Public Library Programs and brochures: Nathan W. Moehlmann, Goosepen Studio & Press
Thanks to the SEMC 2015 Silent Auction Contributors Aiken County Historical Museum Barrington Hall Belle Meade Plantation Chrysler Museum of Art Crystal Bridges Museum of American Art Discovery Park of America Dorfman Museum Figures, Inc.
Florida Museum of Natural History Georgia Museum of Art: University of Georgia Hollinger Metal Edge Jean Lafitte National Historical Park and Preserve Knoxville Museum of Art Lauren Rogers Museum of Art Lightner Museum Mark V. Wetherington Martha B. Jackson MasterPak McKissick Museum: University of South Carolina Museum of Science and History (MOSH) Museums of Tusculum Nathan Moehlmann, Goosepen Studio & Press Past Perfect Software, Inc. River Discovery Center Robin Person-Face in the Sun Custom Jewelry Southeastern Registrars Association The Historic New Orleans Collection The Horry County Museum Weatherspoon Art Museumâ€“UNCG 12
SEMC 2015 Award Winners The Southeastern Museums Conference (SEMC) is proud to announce the winner of the 34th annual James R. Short Award, the most prestigious recognition of service to the museum profession in the southeast. This year, SEMC also proudly conferred the Museum Leadership, Distinguished Contributor, Outstanding Service to the Museum Profession, and Emerging Museum Professional Awards. Winners were chosen from a wide range of entries across the Southeastern United States. The SEMC Awards Committee, co-chaired in 2015 by Allison Reid and Robin Reed, honors outstanding colleagues who have helped shape the world of museums.
2005, creating a “village for the arts” in Midtown Atlanta, encompassing the entire Woodruff Arts Center. Throughout his tenure at the High Museum of Art, he successfully engaged the community in a conversation about the role of the arts as partners in advancing the city and in redefining education. He also used his national leadership roles to advocate for stronger community leadership roles for museums. Shapiro joined the High Museum of Art in 1995 as the director of museum programs and chief curator and was appointed the Nancy and Holcombe T. Green, Jr. Director in 2000. He retired from this position in July 2015.
James R. Short Award Recipient
Museum Leadership Award Recipient
Michael Shapiro, retired Director of the High Museum in Atlanta, GA, is this year’s recipient of the James R. Short Award. 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. ¶ Mr. Shapiro’s dedication and vision transformed the High Museum into an internationally-recognized institution. He led the reinstallation of the Museum’s permanent collections, developed numerous partnerships with national and international art institutions to bring masterworks to the High, and spearheaded the High’s 177,000 square-foot expansion by Renzo Piano that opened in November
Laurie Ann Farrell, Executive Director of Exhibits at Savannah College of Art and Design Museum of Art (SCADMOA), is the recipient of the Museum Leadership Award. Initiated in 1994, the Museum Leadership Award recognizes mid-career museum professionals who have created significant advancement at their institutions, within the museum profession as a whole, and in the southeast region. ¶ As the Executive Director of SCADMOA, Ms. Farrell directs exhibition programming at galleries across the university’s four global locations in Savannah and Atlanta, Georgia; Lacoste, France; and Hong Kong. She has curated groundbreaking and culturally diverse exhibitions and has developed educational and community outreach programs, including the SCAD deFINE Art program.
opposite: SEMC President David Butler and Michael Shapiro (right) at SEMC 2015, Jacksonville, Florida. 15
Laurie Ann Farrell, Museum Leadership Award Recipient.
Distinguished Contributor Award Recipient Cynthia Torp, President, Solid Light, Inc. Louisville, KY, is the recipient of the Distinguished Contributor Award. Initiated in 1999, the Distinguished Contributor Award recognizes a non-museum professional who has contributed his or her leadership expertise, financial support or collections support over a period of 20 years or more to a museum or the museum field in the SEMC region. The nominee has shown distinction in leading/moving an institution or museum-field organization to a recognized position of leadership in collections, programs and/or exhibitions in the SEMC region. ¶ For the last four years, Ms. Torp and her firm have been the critical sponsors of the opening event for SEMC’s Resource Expo. In addition to her work supporting the SEMC annual meeting, Cynthia is also an active leader. She serves as the Southeastern regional rep for NAME. She helped sponsor the SEMC event at the recent AAM meeting in Atlanta. Her design work is innovative and creative, a credit to our region, as
Cynthia Torp, Distinguished Contributor Award Recipient.
illustrated by the national attention paid to the newest exhibit at the Hermitage, “Andrew Jackson: Born for a Storm.”
Outstanding Service to the Museum Profession Award Recipient John Hunter is this year’s recipient of the Outstanding Service to the Museum Profession Award. Initiated in 1999, the Outstanding Service to the Museum Profession Award recognizes a leader with ten years or more of service to an allied or affiliated professional organization. Such a leader will have assisted the museum profession in areas such as program organization, development of grant opportunities, creation of historic/cultural designations and long term cultural development. The nominee must have direct responsibility, and the programs must have impact on a broad scale — statewide or regionally. ¶ Mr. Hunter spent 15 years of his career with the Jekyll Island 16
John Hunter (right), Outstanding Service to the Museum Profession Award Recipient.
Jon Hill (right), Emerging Museum Professionals Award Recipient.
Authority (JIA); first as the Chief Curator and later as the Director of Historic Resources at JIA, before transitioning to a position with the City of Brunswick, GA, February 2015. During his tenure at JIA, Mr. Hunter demonstrated unwavering support of the Jekyll Island Management Institute and mentored countless interns and emerging museum professionals, hosted a SEMC Annual Meeting, and developed the Jekyll Island Historic District as a model in public/private partnership.
institutions, within the museum profession as a whole, and especially in the southeast region. ¶ Since joining the Pensacola Lighthouse and Museum in 2009 as its director, Mr. Hill has expanded it from a property in need of major restorations with limited funds and fewer than 3,000 visitors a year, to an institution with more than 70 volunteers, a paid staff of 12, more than 120,000 visitors a year, and an annual operating budget of over $1 million. He has established a gift shop, secured $2 million in grants to undertake necessary restoration, and has expanded the Museum’s offerings.
Emerging Museum Professionals Award Recipient Jon Hill, Executive Director, Pensacola Lighthouse and Museum in Pensacola, FL, is this year’s recipient of the Emerging Museum Professionals Award. The Emerging Museum Professionals Award, initiated in 2007, recognizes emerging professionals who have demonstrated excellence and leadership in museum activities at their
SEMC 2015 Annual Meeting Scholarship Recipients AFRICAN AMERICAN MUSEUM PROFESSIONAL Tonya Parker, Director of Education & Outreach, Tubman Museum; Macon, Georgia 17
EMERGING MUSEUM PROFESSIONAL Amy Marie Christiansen, Archivist, Black Belt Museum, University of West Alabama; Livingston, Alabama Melina Ludwig, Marketing & Media Coordinator, Customs House Museum & Cultural Center, Clarksville, Tennessee HISTORIC HOUSE MUSEUM PROFESSIONAL Shannon Browning-Mullis, Assistant Curator of History, Telfair Museums, Savannah, Georgia PRESIDENT’S TRAVEL SCHOLARSHIP AWARD Liz Stemm, Curator, Historic Spanish Point, Sarasota, Florida SEASONED MUSEUM PROFESSIONAL Jeffrey Bruce, Director of Exhibitions & Collections, Tubman Museum of African American Art, History & Culture; Macon, Georgia
SMALL MUSEUM PROFESSIONAL Eliza Newland, Collections & Program Manager, Watts Museum, West Virginia University; Morgantown, West Virginia
OVER $100,000 Excellence in Exhibitions State of the Art, Crystal Bridges Museum of American Art, Bentonville, Brandon Mason, Communications Administrative Assistant
STUDENT Liya Deng, Doctoral candidate, University of South Carolina; Columbia, South Carolina Jennifer Randels, Master of Arts candidate, University of West Georgia; Lawrenceville, Georgia
Commendation for Outstanding Exhibition From “Dirty Shirts” to Buccaneers: The Battle of New Orleans in American Culture, Louisiana State Museum, New Orleans, LA, Karen Leathem, Museum Historian OVER $25,000 Excellence in Exhibitions Structural - Response II, Savannah College of Art and Design, Savannah, GA, Anne Rogers, Director of Exhibitions Initiatives Commendation for Outstanding Exhibition Make it Work, Cape Fear Museum of History and Science, Wilmington, NC, Adrienne Garwood, Exhibit Manager
SEMC 2015 Exhibition Competition OVER $1,000,000 Excellence in Exhibitions Native Americans (permanent installation) Discovery Park of America, Union City, TN, Mary Nita Bondurant, Marketing Director
Exhibition award winners.
UNDER $25,000 Excellence in Exhibitions Welcome Home, The National Museum of the Marine Corps, Triangle, Virginia, Jen Jackson, Exhibit Specialist Commendation for Outstanding Exhibition Tristan Perich: Machine Wall Drawing, Georgia Museum of Art, University of Georgia, Athens, GA, Dr. William Underwood Eiland
SEMC 2015 Publication Design Competition
BOOKS AND CATALOGUES Gold: Crystal Bridges Museum of American Art – State of the Art: Discovering American Art Now Silver: Georgia Museum of Art – El Taller De Gráfica Popular: Vida Y Arte Honorable Mention: Mobile Museum of Art — Charles Smith: Black Hands/I am
BROCHURES AND RACK CARDS Gold: Crystal Bridges Museum of American Art — Inside Silver: Telfair Museums — Mary Telfair Legacy Society Honorable Mention: The Marco Island Historical Society — The Windows & Doors to History
Books and catalogues award winners.
GALLERY GUIDES Gold: Halsey Institute — Alyson Shotz: Force of Nature Silver: Crystal Bridges Museum of American Art — CR(EAT) Food Series Honorable Mention: Bernard A. Zuckerman Museum of Art — 2014 Walthall Fellowship
INVITATIONS Gold: Jule Collins Smith Museum of Fine Art, Auburn University — Trucks Silver: Crystal Bridges Museum of American Art – Insights from a Changing America — The Summit at Crystal Bridges POSTERS Gold: The Halsey Institute of Contemporary Art — Groundhog Day Concert Silver: Bernard A. Zuckerman Museum of Art — Laboratory: A Site for Exploration and Observation NEWSLETTER & CALENDAR EVENTS Gold: Crystal Bridges Museum of American Art – C: Member Magazine Silver: Telfair Museums – Member Magazine Honorable Mention: The Halsey Institute of Contemporary Art — 2015 Program Winning publications on display in Jacksonville. 20
Publication award winners.
Annual report, Florida Museum of Natural History.
ANNUAL REPORTS Silver: Florida Museum of Natural History CAMPAIGN Gold: Crystal Bridges Museum of American Art —State of the Art: Discovering American Art Now Silver: Telfair Museums — Deep River Honorable Mention: The Marco Island Historical Society — The Windows & Doors to History
Best of Show, State of the Art, Crystal Bridges Museum of American Art.
BEST OF SHOW Crystal Bridges Museum of American Art — State of the Art: Discovering American Art Now
Technology award winners.
SEMC 2015 Technology Competition APPLICATIONS Gold: ARTtab — New Orleans Museum of Art and CultureConnect Silver: Holocaust Museum — Holocaust Memorial Resource and Education Center of Central Florida and Q Media Productions Bronze: State of the Art — Crystal Bridges Museum of American Art and Mill Creek Software, Inc. Honorable Mention: Decoding DaVinci — Muscarelle Museum of Art and Hello everyone Information Company, MEDIA PRODUCTION Gold: Greasy Strings Theater — Birthplace of Country Music® Museum and Hillmann & Carr Inc. Silver: Bring Me Back My Body and I Will Return Your Soul — Halsey Institute of Contemporary Art Bronze: TAP Tour: Andy Warhol’s Famous Faces Columbia Museum of Art Honorable Mention: This Is My Home Now — Greensboro Historical Museum
DIGITAL EDUCATION Silver: The World War II Home Front in Mississippi — Mississippi Department of Archives and History, Museum Division Bronze: Boeing Observatory Distance Learning Program — South Carolina State Museum DIGITAL MARKETING Gold: State of the Art Microsite — Crystal Bridges Museum of American Art Honorable Mention: The Mudcat: The Civil War in Mississippi — Mississippi Department of Archives and History, Museum Division CAMPAIGN Gold: State of the Art — Crystal Bridges Museum of American Art, Mill Creek Software, Inc, and Ideum STUDENT Gold: Art of the Con — BJU Museum & Gallery, Inc. and BJU Cinema Department
GALLERY INSTALLATIONS Gold: ARTtab — New Orleans Museum of Art and CultureConnect Silver: Making Music Gallery — Birthplace of Country Music® Museum and Hillmann & Carr Inc. Bronze: State of the Art Digital Labels — Crystal Bridges Museum of American Art Honorable Mention: Help We Need Foley — North Carolina Museum of History 22
SEMC 2015 Scholarship Winners Share Their Experience This year we awarded scholarships to eight deserving museum professionals so they could attend SEMC 2015 Annual Conference in Jacksonville. Some of them shared with us their experience at SEMC 2015 and the positive impact of the conference.
Eliza Newland Before heading off to Jacksonville to attend the Southeastern Museums Conference, I was nervous: I had been to several conferences (National Council for Public History, American Alliance of Museums, American Association of State and Local History, and West Virginia Association of Museums), but had never been to SEMC and I was worried about presenting for the first time in front of a group of museums professionals. ¶ I was lucky enough to have asked Dr. Melissa Bingmann (Director of the Public
History MA Program at my Alma Mater, Wester Virginia University) if she knew anyone who would be at SEMC because I was searching for both a roommate and connections. She responded saying that she knew the “perfect person” and went on to introduce me to another one of her previous students, James Quint. With the help of James, I was connected with my roommate (Heather Nowak) and was introduced to many other people as soon as I arrived. ¶ The conference as a whole was a treat; all of my needs as a museum professional were indulged. At large conferences, I have often felt as though the content is not designed for emerging museum professionals (EMPs) or for people who work at small museums. That was not the case at SEMC; I feel as though all participants were engaged. The conference sessions were of a high caliber and accessible to a diverse community of professionals. ¶ In Jacksonville, I also had the opportunity to present my
own work in an Ignite session with a group of my peers. To be on equal footing with those other individuals, all far more seasoned than myself, and to be able to contribute to the field was an honor. I was able to share my work and talk to other people about it, something that I have never truly had the opportunity to do. ¶ The post-session networking events were fantastic. There was a cocktail hour in the expo hall after the sessions ended every afternoon and then we were treated to fantastic evening events: a visit to three large museums in Jacksonville one night and then a trip to the zoo the next! These post-session events all provided wonderful networking opportunities.
same object, different perspectives...
I met and chatted with people from all sorts of museums in all stages of their careers. ¶ For me, an EMP working in a small town in West Virginia, this conference was exceptional. Attending the Southeastern Museums Conference validated my position within the professional museum community. I no longer feel like I’m sprinting, trying to keep up with other professionals; but that I’m confidently walking in stride with other EMPs. ¶ Without the support of the scholarship committee of SEMC, my attendance would not have been possible. Thank you for providing me with this great experience, and I hope to see you in Charlotte!
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mcleod plantation | charleston, sc Power. Depression. Freedom. Slavery.
A cotton gin meant something very different to a plantation owner and an enslaved laborer. Interpretation at this new heritage site offers visitors the perspectives of generations of African Americans during their long transition to freedom.
Amy Christensen Some of my most significant gains after attending the SEMC annual meeting in Jacksonville were being able to network with people in the region and gaining knowledge of specific topics/issues. During the conservation workshop at the Karpeles Manuscript Library and Museum, I sat at a table with people from Kentucky, North Carolina, Georgia, and elsewhere. While listening to the preventative preservation talk, we all conversed about our own institution’s preservation efforts and exchanged techniques and even discussed different types of materials
and distributors. It was a great experience and I learned about new products in the field from professionals who have actually used them. ¶ The sessions at SEMC are always inventive and fresh. The Black Belt Museum is looking to fundraise to complete our building renovation so being able to attend the “Raising Money for Today & Tomorrow” session will help our Museum staff focus on development goals and strategies for success in asking for monetary support. The “Membership Explosion” session also highlighted how to be successful with promoting a strong membership base even at the smaller size level that the Black Belt Museum is included. My favorite session
We scanned Marilyn. We converted Nixon. We cleaned up Elvis. Honest. The Crowley Company’s front-end capture systems and comprehensive conversion services make the process of archiving images and records – dare we say it? – historically simple.
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Agnes Martin (Canadian/American, 1912-2004) Blue Flower, 1962, sold for $1,539,000 Monumental Fencai Flower and Landscape Vase, sold for $24,723,000 Alexander Calder, Untitled (Pin), sold for $111,000
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was “Exhibition Failures” where I learned that everyone in a museum setting makes mistakes in exhibition design and execution. During the session, we broke into small groups and shared our major failures. I heard about a range of mistakes from misspelled names to fire marshal issues to child-size stairs that adults would fall on to mysterious water heater leakage. But the best mistake that won the trophy from our group was a photograph of a coal miner exhibited in Kentucky that had a bit of pornographic material included in the photo. Apparently on the shanty house in the picture, someone drew a phallic image in chalk and no one from the Museum noticed it, oops! Overall, attending SEMC this year was fantastic and I took away
a lot of information I will share with my co-workers and actually implement in the Black Belt Museum.
Tonya Parker Thank you once again for a wonderful experience at the SEMC Annual Meeting in Jacksonville. I would not have been able to attend without the support of the travel scholarship. I am grateful to the committee members who saw that I would benefit and from this opportunity; I truly did! ¶ I thoroughly enjoyed meeting other educators and colleagues from other fields in the museum industry. I learned that some of the things we struggle with at the
Tubman are issues others struggle with across the board. I also learned that I know more than I thought I did about what works and what doesn’t; it was great to share my own experiences and hear the experiences of others to discover best practices in my field and for the museum as a whole. The sessions I participated in were engaging, informative, and well worth attending. I look forward to next year’s event. Thank you.
Shannon Browning-Mullis Thanks, again for the opportunity to attend SEMC. It was a wonderful experience. The sessions, the expo, and the social events were all lovely, but the highlight of my experience was meeting so many impressive colleagues. Often, in our everyday lives, we become so focused on our own projects and struggles that we forget where we fit in the larger picture. Meeting so many people who are passionate about museums and who are able to see the difference we make every day put that back into perspective for me. Hearing about all the wonderful projects other people are working on and being able to share my own ideas sent me home with renewed energy to take on the challenges ahead. It also gave me inspiration for new approaches and programs that I might not have considered before. ¶ In terms of sessions, I found “Museums Stand Up” incredibly thought provoking. The presenters balanced a passion for social justice with the practicality of museum
resources in a way that helped participants realistically consider how to respond to a number of issues as they occur, hopefully making museums more relevant as we move into the future. ¶ It was so lovely to meet you all, and I look forward to participating in SEMC in the future!
Jeff Bruce I really enjoyed the conference. Over the last several years I had not been able to attend any museum conferences, so it was a great treat to be able to get out of the office and spend some time with colleagues. I was surprised and pleased to get the scholarship that made the trip possible. It was quite an honor for me to find out that my work was respected by my peers. ¶ I loved Jacksonville. I missed being close to the water. I really enjoyed the evening trips to the local museums. I rarely get out to see other institutions, and I thought all of the Jacksonville museums were really great. I wish we could have seen more of the zoo exhibits. ¶ I got a good collaborative programming idea that I would like to try from one of the workshops, and a list of marketing ideas from another. I think one of the best things about these events is that you get to hear stories about other institutions. It helps you realize that you are not operating in a vacuum, and that your challenges are not always unique. It is not difficult to find someone who has encountered the same issue — and may have an innovative solution for you. There were a couple of
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workshops that I was interested in that were scheduled simultaneously, but otherwise I think I got everything that I could out of the experience. ¶ I am not a critic, but I rate the entire experience a success. I am happy that I got a chance to participate. Thanks for the opportunity.
Liya Deng It was a true honor to be selected as one of the recipients of the SEMC Travel Scholarship. I appreciated the opportunity to be recognized by a professional organization which I value profoundly and consider it home. I joined the SEMC as a doctoral student two years ago and really enjoyed networking with all the museum professionals, as well as distinguished researchers and educators in the field. The annual conference served as a great mentoring experience for me. I looked forward to seeing everybody at the conference and participating in many of the events. I had a busy time in Jacksonville. I participated in a panel presentation with my colleagues from both the library and the museum worlds. We touched upon many issues related to human rights, accessibility of museums, and access to cultural heritage for special populations, as well as diversity and inclusion. Our presentation was wellreceived and the following active discussion showed how important our topic is for the museum community. I also attended several sessions about the use of social media as a marketing tool to promote museum collections and
services. The highlight of the conference for me was the “Spotlight on Student Research” session. I saw the session as a platform to showcase the wonderful and important work done by emerging museum professionals. From my own experience last year and from attending the session this year, I got the impression that the “Spotlight on Student Research” is an incredible learning experience for students themselves. As a student, I really appreciated this program especially designed to support student research and connect them with experienced museum professionals and other students. ¶ Since I have benefited so much from being a member of this organization, I was happy that I had the opportunity to contribute to the Silent Auction and support the SEMC Scholarship Fund. Finally, I have to mention how much I enjoyed the trip to the Jacksonville Zoo and the Museum Evening Event that gave the conference attendees an opportunity to tour three major Jacksonville museums. Overall, attending the 2015 SEMC was a wonderful experience. I believe what makes SEMC amazing is its outstanding members and the community that the members build. Every year I participate in the conference, I realize how much we have to advocate for what we do, the interdisciplinary nature of our field, and the important role that museums play in building an equitable society.
Let Us Tell Your Story 29
Researching REMIX: Strengthening an Exhibition’s Core Through Community Input Victoria Cooke ,
Former Curator, Columbia Museum of Art, Columbia, South Carolina
ollaboration in curatorial research takes many forms: I wanted to discuss the important role a series of community listening sessions played in strengthening the checklist I developed for REMIX: Themes & Variations in African American Art, an exhibition opening at Columbia Museum of Art (CMA) in February 2016. Although I approached these sessions with some initial skepticism, I found that digging deep into feedback and suggestions from a diverse group of stakeholders not only had a powerful impact on the exhibition I curated, but it also taught me lessons to apply in future projects. Inviting community input into the curatorial process can be a daunting prospect: it requires ceding some authority and control. However this experience has galvanized my conviction that, if the ultimate goal of a curator’s research is provide an exhibition experience with community impact, collaboration is not only beneficial, but also necessary. Further, I believe that the earlier in the curatorial process this collaboration occurs the more impactful the process will be. By the end of 2013 Chief Curator Will South and I had been searching for some time for an African-American exhibition to bring to the Columbia Museum of Art in Columbia, South Carolina. We found many fine exhibitions traveling the country but none seemed quite right. 31
I proposed organizing our own thematic exhibition that would contribute to the national discourse on AfricanAmerican art and could be tailored to the specific needs to the Columbia community. Quickly, by the spring of 2014 and with input from many people, particularly the curatorial team at CMA, I had a concept which I felt was original and compelling and which offered a wide range of possibilities for education and audience engagement. Originally called Repurposing History, this exhibition would explore how some artists use earlier images and ideas as various as old master paintings, antique sculptures, or the Confederate flag in contemporary art. By drawing upon the past meanings, the artists comment on current events and issues. The six galleries of the museum’s temporary exhibition helped guide me in dividing the exhibition into three basic sections — artwork based on past art or themes, artwork that reclaims stereotypes or symbols from the past, and artwork that repurposes objects. The exhibition was scheduled to open in February 2016. This exhibition represents a significant commitment of resources for the Columbia Museum of Art and the show is just one component of a larger outreach effort. The museum leadership wanted to demonstrate to the leaders of the African-American community the seriousness of this commitment by presenting them with a polished product — an exhibition checklist that was well-researched, refined, and complete with some loans
secured. To that end, during the summer of 2014 the museum engaged in a series of community listening sessions with members of the African-American community and other stakeholders. These meetings were intended to give departments across the museum information and feedback which would help us better accomplish institutional goals. This was also to be a privileged first look at an important undertaking by the museum. A diverse group of people gathered. They included members of the museum’s board as well as the board of the museum’s membership affiliate group, the Friends of African-American Art and Culture. There were leaders of black businesses and churches and civic organizations, as well as arts and cultural leaders. Also present were professors from the University of South Carolina; both Allen University and Benedict College, local historically black universities; the president of the Columbia Urban League; and the former superintendent of Richland One school district, the largest of the school districts served by the museum. I will candidly admit I was intimidated. While I had researched my subject and while I am passionate about the exhibition, I was keenly aware that I am not a specialist in African-American art and am white. I just was not sure how this was going to go over. We had several meetings over a period of three months to give a large number of constituencies the opportunity to voice their opinions.
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Fig. 2. Giovanni di Marco dal Ponte (Florentine, 1385–1437 / 1438 ), Virgin and Child Enthroned with the Arch, c. 1425–1426, tempera painting on three lindenwood panels, Columbia Museum of Art. Gift of the Samuel H. Kress Foundation.
Fig. 1. Kehinde Wiley (American, b. 1977), St Paul, 2014, 22 karat gold leaf and oil on wood panel. Courtesy of a private lender.
The stakeholders’ feedback was measured, kind, and insightful. As an art historian, I found it led to new avenues of research that I wish I had had more time to pursue, and had I heard it much earlier in the process, I would have made major changes to the exhibition. However, the practical concerns of negotiating loans, building crates, and arranging for shipping led to a different approach. I made significant additions to the existing exhibition checklist without changing the existing exhibition structure and concept. I did answer the largest criticisms and feedback I received, and these changes have strengthened the core of the exhibition. Examples of these additions can be found in each of the three sections of the exhibition. The first section of the exhibition — repurposing images and themes from the past — explores the way that some African-American artists update archetypal images in
both popular culture and high art. A pivotal artist for this exhibition concept from its inception was Kehinde Wiley (fig. 1) whose 2014 series of altarpieces complement not only the theme of the exhibition but also the CMA permanent collection. The image of a saint in a gilded, pointed frame will remind the museum member or frequent visitor of the many gothic altarpieces in the Kress Collection (fig. 2). Another important artist for this section of the exhibition is Mickaelene Thomas who, like Wiley, often makes direct reference to past art as she does in The Three Graces (fig. 3). Since antiquity, artists have shown the Graces as nude figures to the delight of the male gaze. In literature and art the Graces are generally taken to represent charm, beauty, and creativity. In her painting, Thomas depicts modern, stylishly clothed, confident women, turned to each other. They represent an empowered vision of female beauty. Her Three Graces are beautiful and strong, graceful, and proud. As I showed these images, the community leaders pointed out that in choosing artists for this section of the exhibition 33
Fig. 3. Mickalene Thomas (American, b. 1971), Three Graces: Les Trois Femmes Noires, 2011, Rhinestones, acrylic paint and oil enamel on wood panel, North Carolina Museum of Art, Raleigh. Purchased with funds from the North Carolina State Art Society (Robert F. Phifer Bequest).
— which included themes like the repurposing of past images of heroes and goddesses — I had unintentionally created a narrative suggesting a dependence on Western art history and white precedents. African art, as they pointed out, has many examples of heroic images and sculptures representing goddesses. Surely, they suggested, I could find artists who drew on those inspirations.
procreation, and motherhood related to the Yorùbá goddess of love, beauty, and wealth, Oshun. Here Stout has crafted a complicated sculpture combining elements of the American and Caribbean diaspora with hints of the African traditions. She invites viewers to interact with her work and experience the depth and endurance of that ancestral memory.
I immediately corrected this. One significant addition to this first section of the exhibition is Erzulie Dreams by Renée Stout (figs. 4 and 5). Stout’s work is a rich mixture of cultural and religious traditions found in the United States that can be traced through Haiti back to the Yorùbá peoples of Africa. Erzulie is the Haitian goddess of love,
She cast her own face for Erzulie; peacefully closed eyes indicate her role here as the goddess of dreams. Her hair is braided and she wears a gold choker and feathers on her shoulders. On her ears are mojo bags, small cloth bags containing charms and spices that are found in hoodoo, voodoo, and South Carolina’s root medicine tradition; 34
Fig. 5. Renée Stout (b. 1958), Erzulie Dreams, 1992, Mixed Media, Virginia Museum of Fine Arts, Richmond. Kathleen Boone Samuels Memorial Fund.
Fig. 4. Renée Stout (b. 1958), Erzulie Dreams, 1992, Mixed Media, Virginia Museum of Fine Arts, Richmond. Kathleen Boone Samuels Memorial Fund.
their use traces back to Yorùbá tradition. They take many forms, and a mojo bag intended to evoke peaceful dreams might contain lavender and chamomile while a bag for lucky dreams might contain nutmeg or star anise. A simple European or American style table and small cabinet serve as a pedestal for Erzulie’s torso. Hidden
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inside are symbols of the goddess’s power — a pelvis, the center of childbirth, can be found inside the cabinet, and a red beaded heart, the symbol of love, sits inside the table drawer. Of the African religious traditions that were brought to the New World by enslaved peoples, it is the Yorùbá heritage that is the best preserved (see Ina J. Fanrich, “Yoruba Influences on Haitian Vodou and New Orleans Voodoo,” Journal of Black Studies: May, 2007, vo. 37 no. 5: 775–791). Yorùbá sculptors often created altars with female figures to act as diviners or intermediaries between the corporeal and spiritual realms. The different elements of Stout’s sculpture work together to serve as an altar. The doors of the cabinet and the drawer of the table conceal hidden desires that Erzulie may help you find. The desires and the practices may be hidden behind a Western façade but they remained in the New World, and by casting her own face Stout solidifies her own connection to ancestral memory. Another concern expressed by the community leaders was that the specific racial history and concerns of South Carolina be addressed and that the regional artists not be completely eclipsed. One artist they recommended is Colin Quashie, of Charleston, who reclaims and repurposes stereotypes and racially charged images — the second thematic section of the exhibition. He appropriates images from a wide array of sources for his complex work Plantation Monopoly (fig. 6).
Museum Planning Experience Design Exhibit Fabrication
This piece is a complete restructuring of the familiar game, in this case based on the antebellum economic structure of Quashie’s adopted hometown in South Carolina. He has renamed the properties to reflect actual plantations, the railroads have become stops along the famed Underground Railroad and the utilities have been replaced by significant landmarks such as the Old Citadel and the Slave Auction House. “Community Chest” has been replaced with “Confederate Chest” and “Chance” with “Change.” Mr. Moneybags still plays a central role dispensing money for such “windfall” events as a slave mistress giving birth to twins fathered by a plantation master or taxing an owner who must make repairs to his slaves’ quarters. Quashie’s subject is the complexity of the plantation system and not the morality of the slavery specifically. Winning this game of Monopoly requires that the player engage in the buying of slaves. Quashie employs satire and humor throughout the game, a device that many artists, comedians, and writers find allows people a more comfortable entry to discussion of difficult subjects like the legacy of slavery and racial discrimination (for further discussion see Derek C. Maus, Post-Soul Satire: Black Identity after Civil Rights, 2014). While the game has humorous moments, Quashie’s sources are replete with poignant images. For his Auction House card he drew from those used by the proabolitionist movement (figs. 7 and 8). This image appears
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Fig. 7. Colin Quashie (b. 1963), Plantation Monopoly, Mixed media, 20 x 20 in. Collection of the Artist, Charleston, S.C. Fig. 6. Colin Quashie (b. 1963), Plantation Monopoly, Mixed media, 20 x 20 in. Collection of the Artist, Charleston, S.C.
again on one of four Runaway lithographs by Glenn Ligon on loan to the exhibition (fig. 9). There are ten lithographs in the series, and Ligon paired images drawn from 19th century wanted posters for male and female runaway slaves with descriptions of Ligon himself written by his friends. The descriptions of the slaves and the images were generalized and vague. The same can be said of the descriptions written of Ligon. Pairing them with the images drawn from the wanted posters, Ligon raises questions of identity and the legacy of racial stereotypes and profiling rooted in such imagery. For one image he deviated from the wanted posters and used the seal design adopted for the Society for the Abolition of Slavery in England in the 1780s. This image also appeared on medallions for the society made by Josiah Wedgwood by 1787. It appeared increasingly in the United States as the anti-slavery movement gathered momentum in the 19th century. The slave is anonymous and generalized, and while the image was used for a positive cause it nevertheless has a legacy that Ligon puts on a par with the other imagery chosen for the series. The image of a black man begging for help from his white brothers belies the proactive role of Free People of Color in the abolitionist movement and the idea of the African American as lacking self reliance remains a stereotype today.
Fig. 8. Glenn Ligon (American, b. 1960), Runaway, 1993, Lithograph on Saunders Hotpress paper. Museum Purchase with funds from the Weatherspoon Art Acquisition Endowment.
Fig. 9. Am I not a man and a brother?, 1837, Woodcut on wove paper. Courtesy of the Library of Congress.
Another concern of the community group was that the exhibition as I presented it did not show artists who drew upon African-American artistic traditions. One artist I added to the exhibition to answer that concern is Amalia Amaki. In her mixed-media construction Buffalo Soliders Fan #1, Amaki used elements drawn from quilting and other methods of using keepsakes to preserve memory (fig. 10). When painting and sculpture were luxury arts to pursue, artistic endeavors with souvenirs of a person’s life were substituted in many homes. Amaki draws on these traditions in sophisticated constructions. Her work is in the third section of the exhibition — reusing objects and materials in new ways to make new artwork. Amaki uses a fan-shaped substrate for her composition, calling to mind the use of fans to cool congregations in hot summers as well as the central place of churches in African-American communities. On it she has placed a variety of objects as if they were mementos of military service found in a forgotten shoe box by a family member. Photographs, postcards, stamps and uniform buttons are arranged in layers recalling the largely anonymous service of the Buffalo Soldiers. These African-American
servicemen formed segregated troops in both the cavalry and the infantry beginning in 1865. They were charged with the protection of white settlers on the Western frontier, building fortifications and maintaining the telegraph. Despite the importance of their contributions, the Buffalo Soldiers have been largely forgotten by popular culture. Only Bill Pickett ever attained fame and that is largely only because he joined a Wild West show as a performer. Amaki includes his photograph but the rest of her images show anonymous soldiers. They appear in photographs and postcards showing proud servicemen dignified in the knowledge of the contribution to their country. But while their service and sacrifices were equal to their white counterparts, their rewards were not. Amaki does not identify the other soldiers, perhaps in order to use the Buffalo Soldiers as metaphors for the larger context of the anonymity of African-American service, particularly in the segregated military of the past.
Fig. 10. Amalia Amaki (b. 1949), Buffalo Soldier Fan #1, 1994, Mixed Media. On loan from the Paul R. Jones Collection of American Art at the University of Alabama.
The fabric which covers the fan and serves as a background for the souvenirs also supports this interpretation. The white and blue of the stars and stripes are joined by a maroon stripe rather than red. This subtle change is just a bit off color, implying that the history of the Buffalo Soldier has a bit of tainted color as well — tainted by the segregation faced by the soldiers, tainted by the role they played in suppressing the Native Americans and tainted
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by the lingering inequalities faced in society and the military today (for further discussion see Andrea Barnwell Brownlee, et. al., Amalia Amaki: Boxes, Buttons, and the Blues, Washington, D.C., National Museum of Women in the Arts; Atlanta, Spelman College Museum of Fine Art; Seattle, in association with University of Washington Press, 2005). The slightly pointed shape of the fan and the shadow box that preserves the piece further reinforce this theme by visually recalling the presentation flags given the families of fallen service members. This one work of art will open many avenues for the discussion including the history of the American West and the contributions of African-American soldiers, AfricanAmerican artistic traditions, and the role of churches in the community. It is a piece that speaks to ironies in American culture in regards to race. Finally another major contribution made by a member of the community was the name of the exhibition, REMIX: Themes & Variations in African-American Art. I always struggle with titles, but this came from local storyteller who remarked that the practice was essentially the same as remixing or sampling in hip hop music. And thankfully it stuck.
invaluable. The community leaders who took the time to provide feedback were thoughtful in their suggestions. Listening to them and incorporating their suggestions as best I could strengthened the exhibition and I know that they kept me, as a curator, from making some basic mistakes in my well-meaning attempt to put together a good exhibition. No doubt there are still omissions and still areas where the exhibition could be stronger. Community collaboration as part of curatorial research can be a powerful tool â€” I recommend using it at the beginning of an exhibition project rather than waiting. As a curator it was difficult to face the thought of changing a checklist once it was completed and with the practical concerns of getting an exhibition organized and open in time. I can only hope that the leaders who attended the meeting feel that we heard and responded to their input. Victoria Cooke â€Š is former curator of Columbia Museum of Art in Columbia, South Carolina, and curator of REMIX: Themes and Variations in African-American Art. on view February 5 through May 3, 2016, at the Columbia Museum of Art.
When I was first told we would hold community listening sessions I was unsure; however these meetings were
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41 SEMC 2015 AD
SEMC MEMORIES At the urging of Bob Mayo, a past president of SEMC and a long-time SEMC member, SEMC has just launched a Retired Museum Professional membership category ($25 per year). We found his memories of SEMC so interesting that we had to share them with our members and friends.
o all my old friends and new members, I recently made the mistake of recommending an SEMC retirement membership, so that we can give a little back for all we received when we were active SEMC members. I was immediately asked, “Bob, we would like to hear about your life in SEMC for 58 years or thereabouts.” Everything becomes a fog at 82! But my first visit to the SEMC was in 1957. I was an intern under Ed Davis of the Valentine Museum. As an art student, I wanted to learn about museums, so in my junior year at Richmond Professional Institute Art School (now Virginia Commonwealth University), I asked if I could take a course in museum studies at the Virginia Museum. But they had no courses, nor had they heard of any, and furthermore they did not seem interested. So I turned to Ed Davis. He said he could always use a free hand. The head of the RPI Art Department said that if I would write the course, he would approve it for three credits. Thus, my museum career began. Ed was a firm believer in the Southeastern Museums Conference and the American Association of Museums. My first SEMC meeting was in Charleston, South Carolina, and sixty were present. That’s when I met Joy Jordan, President of SEMC, and Mae Woods Bell, its secretary. Like “mother hens,” they took me under their wings! Upon graduating from RPI with two years of museums studies, I became curator of the Jamestown Festival Park, Jamestown, Virginia, and the Southeastern Museums Conference became part of my life. 43
Bob Mayo (left) opening reception for The Critical Eye, an exhibition of the Robert B. and Margaret T. Mayo collection of 19th and 20th century art.
I attended meetings, workshops, etc. After two years at Jamestown, I moved on to the North Carolina Department of Archives and History where I became curator of exhibits and interpretation. My boss was Joy Jordan, director of the Hall of History. Her deep involvement in the Southeastern Museums Conference brought her staff into an active role in the conference. As for myself, I had become very active in the exhibit program and lecturing on exhibits. I became the champion of small museums, which had flat top cases and volunteer docents. With much help, we brought them into the 20th century. My career with the Southeastern Museums Conference got me elected to the Council and then to vice president. At the annual meeting in Birmingham, Alabama, our new president, Dick Howard, informed us that he had just gotten married and was resigning as president. I became the new president and served for three years before they had enough of me.
My museum career took another turn. In 1966, I came back to Richmond and became director of the Valentine Museum. During this time, I was elected to the AAM Council. By then the small museums group and the exhibits group had become an active part of SEMC and AAM. My time with SEMC and AAM was a constant adventure in the museum world. A couple of events of my presidency through the fog of 80 some years are the following: SEMC was invited to Atlanta, Georgia, for our annual meeting. The host was at the High Museum. When the time came around for the board meeting before the annual meeting, we gathered at the High Museum. In those days, the host museum provided local museum tours, entertainment, transportation, and — most important — receptions in the host town. The Council provided the program and the meeting agenda. We sat down in the board room and looked at each other. I remember saying, “So, what’s the plan?” The head of the host committee said, “Well, what do you want us to do?” Well, it took three days and three people to make it one of our best conferences to date.
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The Southeastern Museums Conference was the largest regional conference in the country, but was considered a backwards conference in the hinterland of the South! AAM was oriented to the Northeast and to the West where the big museums were located. The U.S. Government and Arts and Humanities were the major grant givers to museums. Maybe one or two grants out of hundreds were given past the Mason-Dixon Line! An occasional token was given to a large museum like the Virginia Museum or Colonial Williamsburg. At one of our Southeastern board meetings, a quite outspoken member raised the question, “Everywhere except the Southeast.” A committee was formed of four of the Council, and we investigated every angle of government grants. We made appointments with Arts and Humanities and our legislators. We obviously did our homework well, for since then the Southeast has been a part of the grant program of Arts and Humanities and the Federal Government. Sometimes you just have to speak up to make a difference. After 25 years in the museum profession, it was again time for a change. Two daughters going to college and one in special education on my $16,000 income as director of the Valentine Museum — it didn’t make much financial sense. In July 1975, Gallery Mayo, Inc., a retail gallery of 19th and 20th century works of art, came into existence. In my new venture I made my former annual salary in the first month! From then to the present day, the art world has treated me well. The museum world did not leave me altogether. I became a consultant on
museum management and exhibits. I developed traveling art shows for small museums. I created my own collection of American art, which I freely loaned to museums. The question arises as to why I am still a member of the Southeastern Museums Conference. It is because SEMC has been a benefactor for my entire life through friendships, education, travel, and all the wonderful objects of mankind. I always felt that the small contribution of membership may help another on his trip through the museum world. Here are some of the people from the past who, from my vantage point, helped make the Southeastern Museums Conference what it is today: Ed Davis, Paul Hudson, Carl Cannon, Tom Baker, Joy Jordan, Mae Woods Bell, Steve Schmidt, Jay Broussard, Paul Perot, Jack and Christopher Kraft, Doris Whitmore, Vince Gabianelli, Alvin Gerhardt, Jim Short, Peter Brown, John Ellington, Bruce King, Jean Kane, Bob Sullivan, Marina Grant Morrisey, and Ed Alexander. Bob Mayo has been a longtime SEMC member, serving as Council Member, Vice President, and President. His 25-year museum career included stints as the Curator of the Jamestown Festival Park in Jamestown, VA; Curator of Exhibits and Interpretation at the North Carolina Department of Archives and History; and Director of the Valentine Museum in Richmond, VA. In 1975, he formed Gallery Mayo, a retail gallery specializing in 19th and 20th century works of art, and continued his career in the museum field as a museum management and exhibits consultant.
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THE WILLIAM T. AND SYLVIA F. ALDERSON ENDOWMENT FELLOWS Twenty-six 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
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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. 2016 marks JIMI’s 16th anniversary, and SEMC has brought the fund’s total to over $17,575. Martha Battle Jackson Brian Hicks Siobhan Quinn
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acquisitions ARKANSAS Crystal Bridges Museum of American Art announces new acquisitions that add to the breadth of the museum’s collection, including James McNeill Whistler, The Chelsea Girl, 1884 (oil on canvas), Thomas Eakins, Archbishop James Frederick Wood, 1877 (oil on canvas), Alfredo Ramos Martínez, Florida Mexicana, 1936, (oil on canvas), Jeffrey Gibson, What We Want, What We Need, 2014, (found punching bag, glass beads, artificial sinew, copper jingles, nylon fringe, and steel chain), and Maya Lin, Silver Upper White River, 2015, (recycled silver). “Spanning three centuries, these artists uniquely contribute to the rich story of American art and help shape the fabric of our national
identity,” said Director of Curatorial Affairs Margi Conrads. “These works add depth to the stories of well-known artists already represented in the collection and broaden our perspective with artists who are perhaps less well known. The diversity in time periods, favored materials, and experiences of the artists represented in these new acquisitions underscore our effort to introduce a new dialog with the viewer and keep our galleries dynamic.” ¶ Crystal Bridges Museum of American Art also recently acquired Maya’s Quilt of Life, 1989, (acrylic on canvas and painted, dyed and pieced fabrics) by Faith Ringgold, from the art collection of the late author and activist, Maya Angelou. The work hung in Angelou’s home and was commissioned by Oprah Winfrey for Angelou’s 61st birthday.
Jeffrey Gibson, What We Want, What We Need, 2014, Found punching bag, glass beads, artificial sinew, copper jingles, nylon fringe, and steel chain, 71 × 14 × 14 in., Crystal Bridges Museum of American Art, Bentonville, Arkansas.
James McNeill Whistler, The Chelsea Girl, 1884, Oil on canvas, 65 × 35 in., Crystal Bridges Museum of American Art, Bentonville, Arkansas.
Thomas Eakins, Archbishop James Frederick Wood, 1877, Oil on canvas, 82 1/4 × 60 in., Crystal Bridges Museum of American Art, Bentonville, Arkansas.
Faith Ringgold, Maya’s Quilt of Life, 1989, Acrylic on canvas and painted, dyed and pieced fabrics, 73 x 73 in., Crystal Bridges Museum of American Art, Bentonville, Arkansas. Photo courtesy of Swann Auction Galleries.
Alfredo Ramos Martínez, Florida Mexicana, ca. 1936, Oil on canvas, 36 × 30 in., Crystal Bridges Museum of American Art, Bentonville, Arkansas. 55
The National WWII Museum, New Orleans.
LOUISIANA The National WWII Museum in New Orleans has been recognized as a winner in the 2015 TripAdvisor Travelers Choice Award for museums, ranking Number 3 in the nation — up from Number 4 last year. Other winners include The Metropolitan Museum of Art (Number 1) and the Art Institute of Chicago (Number 2). “Honoring nearly 600 institutions worldwide, the Travelers’ Choice awards have recognized the favorite museums that serve
as cultural treasure troves for our community of millions,” said Barbara Messing, chief marketing office for TripAdvisor. “These world-class museums provide an enriching experience that can be both inspiring and educational for travelers around the globe.”
SOUTH CAROLINA The Coastal Discovery Museum (CDM) in Hilton Head, South Carolina was awarded a grant from the South 56
Coastal Discovery Museum sweetgrass basket sewing class.
Carolina Arts Commission to offer Sweetgrass basket sewing classes to students. The grant enables CDM to offer this program to schools who could not normally afford to pay the cost of the artistsâ€™ time, materials, and planning. Ten demonstration programs will be offered through this grant during 2015-16 school year which will serve 250 to 300 students.
The Gibbes Museum of Art was recently named one of 13 museums worldwide to receive a Bank of America grant for art conservation. The grant will be used to restore two pastel paintings by the artist Henrietta de Beaulieu Dering Johnston. Mrs. Johnston, who arrived in the colony of South Carolina in 1708, is widely considered the first professional woman artist in America. She is the only artist
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Untitled (portrait of a woman), 1704, by Henrietta de Beaulieu Dering Johnston (ca. 1674–1729), pastel on paper, museum purchase with funds provided by the Eliza Huger Kammerer Fund.
Untitled (portrait of a man), 1704, by Henrietta de Beaulieu Dering Johnston (ca. 1674–1729), pastel on paper, museum purchase with funds provided by the Eliza Huger Kammerer Fund.
associated with South Carolina during the first quarter of the eighteenth century and was the first artist in America to work in pastel. Forty-three works are attributed to her. In 2014, the Gibbes Museum of Art acquired two pastel paintings that depict Irish subjects thought to be James Barry, 4th Earl of Barrymore, and his wife, Elizabeth Boyle.
through the global Art Conservation Project. Other recipients of the 2015 awards include the Solomon R. Guggenheim Museum in New York and the British Museum in London.
The Bank of America Art Conservation Project is a unique program that provides grants to nonprofit museums throughout the world to conserve historically or culturally significant works of art that are in danger of degeneration, including works that have been designated as national treasures.Since 2010, Bank of America has provided grants to museums in 28 countries for 85 conservation projects
The U.S. Army Women’s Museum has achieved accreditation by the American Alliance of Museums, the highest national recognition for a museum. Of the over 30,000 museums in the country only about 3% are accredited by the American Alliance of Museums. The Army Women’s Museum becomes the fifth in the U.S. Army Museum System to achieve this honor.
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ARKANSAS The Crystal Bridges Museum of American Art opened the newly reconstructed Frank Lloyd Wrightâ€™s Bachman-Wilson House on the museum grounds November 11, 2015. Designed in 1954 for Gloria and Abraham Wilson, the house was originally built along the Millstone River in New Jersey. The house was subsequently purchased by architect/ designer team Lawrence and Sharon Tarantino in 1988. Threatened by repeated flooding from the river, the Tarantinos determined that relocating the house was the best option for its preservation. After a multi-year search for a suitable location, Crystal Bridges acquired the house in 2013. The house was disassembled piece by piece and transported 1,200 miles, arriving to the museum in the spring of 2014 where site work was already underway. Reconstruction began in the fall of 2014, led by Scott Eccleston, Crystal Bridgesâ€™ Director of Operations, Ron Shelby, architect with Hight Jackson Associates, and Bill Faber with Bill Faber Construction.
Front exterior Bachman-Wilson House designed by Frank Lloyd Wright. Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas. Photos by Nancy Nolan Photography.
Back exterior Bachman-Wilson House designed by Frank Lloyd Wright. Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas.
Living space to foyer Bachman-Wilson House designed by Frank Lloyd Wright. Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas. overleaf: Living space Bachman-Wilson House designed by Frank Lloyd Wright. Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas.
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New park at Cape Fear Museum of History and Science, Wilmington, North Carolina.
NORTH CAROLINA New Hanover County’s newest green space opened Friday, September 25, 2015, at Cape Fear Museum of History and Science. Located at the corner of Eighth and Market Streets adjacent to the museum, the community park will welcome visitors with engaging hands-on exhibits, gardens featuring native and adaptive plants, and educational programs while also serving as a place to enjoy and explore nature in the city. Planning for the Museum’s park began in the fall of 2012 and local officials broke ground in March 2015. “We are grateful to the county, city and taxpayers for the opportunity to create an innovative green space in downtown Wilmington. It will enhance the neighborhood as well as the visitor’s experience both inside and outside the museum,” Museum Director Sheryl Mays said.
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Tarsila do Amaral, São Paulo, 1924, 0il on canvas, 31.5 × 40.5625 × 3.9375 in. Collection of Pinacoteca do Estado de São Paulo, Brazil, purchased by the São Paulo State Government, 1929. Photo by Isabella Martheus.
ARKANSAS Artistic representation of human interaction with the land has a long history in the Americas. The Crystal Bridges Museum of American Art exhibition Picturing the Americas explores this history with more than 100 oil paintings, watercolors, prints, and photographs.
Picturing the Americas invites viewers to traverse a vast and magnificent land mass that extends from Canada’s Arctic to the icy tip of Argentina and Chile to see the landscape anew. The exhibition includes works by wellknown American landscape painters Frederic E. Church, Martin Johnson Heade, and Georgia O’Keeffe, as well as masters from both North and South America, such as 68
From the High Museum’s exhibition Habsburg Splendor: Prince’s Dress Carriage, ca. 1750–1755, wood, gold, paint, varnish, metal, leather, braids, velvet, and glass, 107 × 204.5 × 81 in. (271.8 cm × 519.4 cm × 205.7 cm). Kunsthistorisches Museum, Vienna, Austria. below: Giuseppe Arcimboldo (Italian, 1527-1593), Fire, 1566, oil on panel, 26.125 × 20.0625 in. (66.5 cm × 51 cm). Kunsthistorisches Museum, Vienna, Austria.
Jose Maria Velasco (Mexico), Juan Manuel Blanes (Uruguay), Lawren Harris (Canada), and Tarsila do Amaral (Brazil). Landscape imagery from the early nineteenth century to the early twentieth century shows connections and continuities through shared history and land, while also celebrating distinctions. The exhibition will be on view through January 18 before traveling to the Pinacoteca do Estado de São Paulo.
GEORGIA Two special exhibitions are on view this winter at the High Museum. The first, Habsburg Splendor: Masterpieces from Vienna’s Imperial Collections, brings masterworks amassed by one of the longest-reigning European dynasties to the High Museum of Art. On view through Jan. 17, 2016, it showcases masterpieces and rare objects from the collection of the Habsburg Dynasty — the emperors of the Holy Roman Empire and other powerful rulers who commissioned extraordinary artworks now in the collection of the Kunsthistorisches Museum in Vienna. ¶ The High Museum is the first U.S. museum to present a major exhibition of work by visionary Dutch fashion designer Iris 69
van Herpen, a cutting-edge artist inspired by diverse influences in the arts, sciences, music and philosophy. Marking the High’s first presentation of fashion design, Iris van Herpen: Transforming Fashion features one-of-a-kind haute couture — acclaimed for its combination of traditional craftsmanship and futuristic, innovative techniques — and includes some of the world’s first examples of 3D-printed fashion. It will be on view through May 15, 2016, before continuing on a North America tour.
Iris van Herpen (Dutch, born 1984), Hybrid Holism, Dress, July 2012. Metallic coated stripes, tulle, cotton. Collection of the designer. Photo by Bart Oomes, No 6 Studios. © Iris van Herpen. opposite: Iris van Herpen (Dutch, born 1984), Radiation Invasion, Dress, September 2009. Faux leather, gold foil, cotton, tulle, Groninger Museum, 2012.0201. Photo by Bart Oomes, No 6 Studios. © Iris van Herpen.
Frances Roe (Savannah, Georgia), Sampler, ca. 1815, Georgia Museum of Art, University of Georgia. Museum purchase with funds provided by the Chaparral Foundation, Linda and David Chesnut, and Robert and Suzanne Currey, GMOA 2014.50.
The Georgia Museum of Art at the University of Georgia will present the exhibition Georgia’s Girlhood Embroidery: ‘Crowned with Glory and Immortality’ through February 28, 2016. Organized by curators Kathleen Staples, independent scholar, and Dale Couch, curator of decorative arts at the museum, it focuses on ornamental needlework
created in Georgia and is the first comprehensive exhibition of Georgia samplers. The exhibition includes about two dozen samplers created in Georgia or by Georgians between the mid-18th century and about 1860, on loan from public and private collections, including those of the Museum of Early Southern Decorative Arts (MESDA), the 72
George Segal (American, 1924–2000), Young Woman in Doorway, 1983, plaster, wood, paint, metal, Masonite, 96 x 108 x 24 inches. Georgia Museum of Art, University of Georgia; gift of the George and Helen Segal Foundation, GMOA 2015.180.
Midway Museum, the Charleston Museum, the Telfair Museums, St. Vincent’s Academy (Savannah, Georgia), and the President James K. Polk Home and Museum. ¶ George Segal: Everyday Apparitions will be on view at the Georgia Museum of Art at the University of Georgia through March 6, 2016. Consisting of only three works, all
of which are recent gifts to the museum from the George and Helen Segal Foundation, the exhibition will give visitors a chance to focus on Segal’s work at length. George Segal was affiliated with the Pop art movement of the 1960s, along with Andy Warhol, Roy Lichtenstein and Jasper Johns. Like these artists, Segal’s work addresses 73
George Segal (American, 1924–2000), Post No Bills, 1990, wall relief: plaster, wood, paint 49 x 48 x 19 inches. Georgia Museum of Art, University of Georgia, gift of the George and Helen Segal Foundation, GMOA 2015.181
the conditions of modern daily life; unlike them, he focused almost exclusively on the human form. He is best known for his life-size plaster sculptures of human figures arrayed in tableaus. These figures — sometimes ghostly white, sometimes brightly painted — exude a melancholy and isolation Segal believed was inherent to the human condition in the 20th century, much like Edward Hopper’s paintings. The small gallery, which has no windows, removes distractions from the experience of viewing the work. Founded in 2000, shortly after the artist’s death, the George and Helen Segal Foundation educates the public about Segal’s works, donates works of art to museums and grants funds to artists. These works significantly enhance the museum’s holdings in 20th-century American art.
LOUISIANA The West Baton Rouge Museum presents The Portrait, the Artist, and the Patron: 19th Century Portraiture in Louisiana through January 17, 2016. Portraits offer us a window into the past through the representations of those who inhabited earlier times. Portraiture speaks volumes to the artist’s training and aesthetic, as well as to the patron’s background and ambitions. The patron is important as it is he or she who chooses the artist and influences how the sitter is portrayed. Photography from the 19th century is also included in this exhibit. The 1839 announcement of Louis Daguerre’s breakthrough photographic method meant that portraits were available to the middle classes 74
and to rural residents. Photographed portraits emulated the style and composition of the earlier painted portraits, and became increasingly important to families with the outbreak of the American Civil War.
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His Majesty the King Felipe VI and Her Majesty the Queen Letizia of Spain visit the Lightner Museum, in St. Augustine, Florida.
FLORIDA His Majesty the King Felipe VI and Her Majesty the Queen Letizia of Spain visited the Lightner Museum, St. Augustine, FL, as part of their visit to the U.S. Nancy Shaver, Mayor of St. Augustine and Lightner Museum board member; David Drysdale, museum board chairman; Robert
W. Harper, museum director; and other local dignitaries greeted the royal couple and other Spanish delegates who are visiting the city. After an exchange of gifts between the King and Queen and the city of Saint Augustine, their Majestyâ€™s signed the official City guest book. The King and Queens arrival marks the 450th birthday of the city of St. Augustine, Aviles Spainâ€™s sister city.
NORTH CAROLINA The Cape Fear Museum welcomed two new staff members to their team. Heather Yenco joined the collection team as its new registrar in September 2015, and Jessica Sisco began in October 2015 as its new administrative specialist. Heather Yenco is responsible for the policies and procedures in caring for the museum’s collection, ensuring the proper storage, handling and display of artifacts. She earned a Bachelor of Arts degree in art history with a minor in arts management from the College of Charleston in 2007 and a master in museum studies from the University of Toronto in 2009. Yenco comes to Cape Fear Museum after five years as the curator of collection and exhibitions at Upcountry History Museum in Greenville, S.C. ¶ As the administrative specialist, Jessica Sisco provides support functions for the Museum, including payroll, billing and managing the Visitor Services department. She earned a bachelor of science degree in business administration from the University of South Carolina Upstate in 2008. Her prior experience includes working for a tech distributor in Greenville, South Carolina, for the Microsoft division and seven years in the banking industry in South Carolina.
Jessica Sisco and Heather Yenco of the Cape Fear Museum.
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NATIONAL MUSEUM MEETINGS Museums Advocacy Day, February 22-23, 2016, Washington, D.C. Now in its eighth year, Museums Advocacy Day is the cornerstone of the museum field’s year-round advocacy efforts. During Museums Advocacy Day museum professionals in Washington and around the country join together to send a unified message to Congress about the value of museums and how federal policy affects their ability to serve the public. Alliance members register for free! Learn more about Museums Advocacy Day, including this year’s hotel information, at aam-us.org. The National Museum Publishing Seminar will be held May 12–14, 2016, Aqua Tower, 225 N. Columbus Drive, Chicago, IL. The only program of its type in the world, NMPS brings together the professionals who publish within museums and similar institutions for discussion
related to interpreting museum collections to a diverse public in an expanding array of media. This three-day seminar takes place every other year, and travels around the U.S. to showcase the latest regional expertise among professionals in different museums. Speakers and attendees are drawn from the publications, digital media, and marketing departments at art, science, and history museums, as well as professionals from university presses, small publishers, and design firms. They are joined by sponsors and exhibitors who serve museums by providing paper, printing, photographic expertise, design, writing, editing, packaging, and other services. NMPS To learn more, visit grahamschool.uchicago.edu/noncredit/ professional-development/national-museum-publishing. The American Alliance of Museums 2016 Annual Meeting & MuseumExpo of the will be held Thursday, May 26 – Sunday, May 29 in Washington, D.C. Museums are powerful community assets economically, culturally, educationally, and as places to convene and discuss issues of the day. They memorialize historic events and bear witness to political and social change. They strive to
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foster healthy dialogue and provide a venue for healing and renewal. Museums use their power to teach respect for cultural differences and foster community cohesion and sustainability. How is your museum using its power? To learn more, visit www.aam-us.org. The Association of Academic Museums and Galleries (AAMG) will hold its annual conference May 24-25, 2016, in Washington, D.C. For more information visit aamg-us.org. The next AAMG/Kellogg Leadership Seminar will be held June 19–24, 2016. This seminar, in conjunction with the Kellogg School of Management Center for Nonprofit Management at Northwestern University, was piloted in 2012 and held again in 2014. Up to 40 applicants will be identified as participants. For more information and to apply, visit aamg-us.org. The application deadline is January 15, 2016. The Association of African American Museums (AAAM) Conference is August 3-6, 2016, in Riverside, CA. For more information visit blackmuseums.org. The American Association of State and Local History (AASLH) annual meeting will take place in Detroit, Michigan. The conference will run September 14-17, 2016. For more information visit aaslh.org.
STATE MUSEUM MEETINGS Georgia Association of Museums and Galleries Date: January 20-22, 2016 Location: Albany, GA Alabama Association of Museums Date: March 6-8, 2016 Location: Mobile, AL Virginia Association of Museums Date: March 12-15, 2016 Location: Williamsburg, VA South Carolina Federation of Museums Date: March 9-11, 2016 Location: Edgefield, SC Tennessee Association of Museums Date: March 15-18, 2016 Location: Nashville, Tennessee West Virginia Association of Museums/ALHFAM Date: March 11-13, 2016 Location: Weston, WV
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North Carolina Museums Council Date: March 20-21, 2016 Location: Winston-Salem, NC
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Mississippi Museums Association Date: March 6-7, 2016 Location: Ocean Springs, MS Arkansas Association of Museums Date: March 29-31 Location: Little Rock AR
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Kentucky Museum and Heritage Alliance Date: June 12-14, 2016 Location: Hopkinsville, KY Florida Association of Museums Date: TBD Location: TBA Louisiana Association of Museums Date: September 13–15, 2016 Location: Alexandria, LA
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important dates jan 19–26, 2016 JIMI 2016, Jekyll Island, GA feb 19, 2016 Spring 2016 Inside SEMC article and ad deadline may 2 – july 15, 2016 SEMC 2016 Annual Meeting early registration july 15 SEMC 2016 Exhibition Competition deadline july 15 SEMC 2016 Publication Competition deadline july 15 SEMC 2016 Technology Competition deadline july 15 SEMC 2016 Scholarship Applications deadline july 15 SEMC 2016 Resource Expo early registration deadline aug 5 SEMC 2016 Awards Nomination deadline sept 9 SEMC 2016 Hotel Room Block deadline sept 26 SEMC 2016 Regular Registration deadline oct 10–12 SEMC 2016 Annual Meeting, Charlotte, NC
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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
SEMC 2016 ANNUAL MEETING
SAVE THE DATE: October 10–12