Inside SEMC Fall 2016 by Southeastern Museums Conference (SEMC)

INSIDE S E MC fall 2016 | www.semcdirect.net The Newsletter of the Southeastern Museums Conference

ON THE COVER Dr. Martin Luther King Jr. and Coretta Scott King lead a crowd of civil rights marchers through the streets

of Montgomery, Ala., on March 25, 1965. From the exhibition Selma to Montgomery at the North Carolina Museum of History.

25 Executive Director’s Notes Susan Perry

Where Tradition & Innovation Meet: SEMC Annual Meeting 2016 Charlotte, North Carolina

Important Dates, Keynote Speaker, Scholarships and Competitions, Annual Awards, Get Involved at the Annual Meeting, Director-Trustee Day, and Special Session Tracks

17 JIMI Homecoming 2017 19 AALSH 2016 Leadership in History Award Winners 20 Turning a Museum Inside Out 22 Announcing JIMI 2017

Zinnia Willits, Director of Collections and Operations, packs and unpacks a 10,000 piece collection during the Gibbes Museum of Art’s expansion and re-opening.

60 Embracing Traditional Curatorial Roles While Collectively facilitating Museum Innovation

Celia Walker, Director of Special Projects at Vanderbilt University Libraries, explores the evolving role of libraries in experiential learning.

A Special Thanks Endowment and Membership Contributions

46 Construction 48 Exhibitions 54 Innovations 68 People and Places 70 What’s Happening 73 Important Dates 74 SEMC Job Forum 74 Get Social with SEMC 74 SEMC Membership Form 75 Congratulations

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 dbutler@knoxart.org Executive Director, Knoxville Museum of Art, Knoxville, TN Darcie MacMahon Vice President 352.273.2053 dmacmahon@flmnh.ufl.edu Director of Exhibits & Public Programs, Florida Museum of Natural History, Gainesville, FL Robin Seage Person Secretary 601.442.2901 rsperson@bellsouth.net 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 rreed@fmauthority.com Director, Casemate Museum, Fort Monroe, VA

Design: Nathan Moehlmann, Goosepen Studio & Press

Mike Hudson Past President 502.899.2356 mhudson@aph.org

The deadline for the Winter 2017 newsletter is November 15, 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

Elise LeCompte

205.328.9696 | pcooper@bcri.org

352.273.1925 | lecompte@flmnh.ufl.edu

Vice President of Institutional Programs,

Registrar & Asst. Dept. Chair,

Birmingham Civil Rights Institute,

Florida Museum of Natural History,

Birmingham, AL

Gainesville, FL

Dawn Hammatt

Deborah Mack

504.568.6972

202.633.4513 | mackdlynn@si.edu

dhammatt@crt.la.gov

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.

Julie Harris

Catherine Pears

270.575.9958

318.443.0545

jharris@riverdiscoverycenter.org

cpears@lsua.edu

Executive Director, River Discovery

Executive Director, Alexandria Museum

Center, Paducah, KY

of Art Alexandria, LA

Brian Hicks

Deitrah J. Taylor

662.429.8852

478.320.4010 | dtaylorhistorian@gmail.com

director@desotomuseum.org

Cultural Center Coordinator, The Cultural

Director, Desoto County Museum,

Center, Georgia College and State

Hernando, MS

University, Milledgeville, GA

Kathleen Hutton

Zinnia Willits

336.758.5394

843.722.2706 ext. 32

khutton@wfu.edu

zwillits@gibbesmuseum.org

Dir. of Education, Reynolda House Museum

Dir. of Collections Admin., Gibbes Museum

of American Art, Winston-Salem, NC

of Art, Charleston, SC

Jenny Lamb

Heather Marie Wells

616.356.0501

479.418.5700

jenny.lamb@bellemeadeplantation.com

heathermarie.wells@crystalbridges.org

Nashville, TN

Digital Media Specialist, Crystal Bridges Museum of American Art, Bentonville, AR

gatherings, honing our craft, marketing/communication, leadership, and inclusion. The survey demonstrated the critical need for SEMC and the entire museum community to work on our diversity and inclusion.

executive director’s notes Susan Perry

What’s SEMC impact? This past year we have been asking what is most important to you as a museum professional. The Southeast represents a distinct region with commonalities. SEMC provides a unique environment for network and relationship building and offers opportunities for professional learning. Last month SEMC conducted a member survey and asked about your needs in the areas of technology, annual

At SEMC 2016 Annual Meeting, one session “Museums Stand Up” identifies experimental approaches to civic engagement and community impact. “For museums in the Southeast, often charged with interpreting the region’s complicated and sometimes painful past, the question of our role in responding to and shaping societal values is particularly pressing.” Learn how museums have responded institutionally to social justice issues in our communities. How can SEMC contribute to the professional development and mentor support for our future museum leaders? The 17th annual Jekyll Island Management Institute (JIMI 2017) is specifically designed for museum professionals with subject area expertise desiring knowledge of general museum administration and operations. Apply now for JIMI 2017. SEMC 2016 Annual Meeting in Charlotte offers opportunities to meet museum professionals at all levels and find a professional mentor whether you are an emerging or seasoned museum professional. SEMC wants to grow a more diverse membership and offer leadership development. See you soon in Charlotte!

— Susan Perry, Executive Director

where TRADITION & INNOVATION meet 2016 SEMC October 10â&#x20AC;&#x201C;12, Charlotte, NC

where TRADITION

& INNOVATION meet

Celebrate high-energy racing as well as cosmopolitan art, culture, and history in Charlotte, NC. Experience Charlotte’s Uptown at SEMC evening events on South Tryon Street with the Mint Museum of Art, Bechtler Museum of Modern Art, NASCAR Hall of Fame, and Harvey B. Gantt Center, and on North Tryon Street with Discovery Place, McColl Center for Art & Innovation, and Levine Museum of the New South. Charlotte Museum of History, Historic Rosedale, Latta Plantation, and Carolina Raptor Center.

2016 SEMC October 10–12, Charlotte, NC

The theme of this year’s annual meeting is “Where Tradition & Innovation Meet” and it will ignite new ideas for innovative technologies, institutional identity, digital strategy, immersive experiences, transformative experiences. Measure wonder. Get energized with innovative creativity and connect with our communities. Integrate STEAM curriculum, engage new audiences and transform fundraising into philanthropy. SEMC’s Program Committee invites you to meet us in Charlotte to share creative ideas and success stories, explore new directions and emerging trends in museums, and network with the most congenial and supportive group of museum professionals in the nation. Experience the energy of uptown Charlotte. We promise you’ll be energized, enlightened, and entertained. Join us to discover Where Tradition & Innovation Meet at SEMC 2016 Annual Meeting October 10–12 in Charlotte!

PARTICIPANTS AT THE SEMC 2016 ANNUAL MEETING IN CHARLOTTE WILL EXPERIENCE

• Over 54 sessions and workshops on transforming learning in the information age, engaging diverse communities, evolving thoughtful leaders, developing strategic partners, tagging new audiences with open access, democratizing the museum, discovering museum storage solutions, emerging museum professionals, surviving a mid-career crisis, developing STEAM programs, reimagining the traveling exhibit, overcoming disaster, fundraising super hero, taking it to the streets, using 3D printing, inspiring the creative age, measuring wonder, and igniting passion for museums • Session tracks geared to specific disciplines and interests help you get the most out of your conference experience • Keynote speaker is Elizabeth Merritt, Vice President, Strategic Foresight and Founding Director, Center for the Future of Museums, American Alliance of Museums • Resource Expo with over 68 exhibitors • Uptown evening events on South Tryon Street at Mint Museum, Bechtler Museum of Modern Art, and Harvey B. Gantt Center; and on North Tryon Street with Discovery Place, McColl Center for Art & Innovation, and nearby Levine Museum of the New South • Private walking tours of uptown Charlotte’s history and public art, Segway and running tours • Pre-conference munching tour in Charlotte’s international east side and fun evening at Charlotte Museum of History • Behind-the-Scenes tours of Mint Museum and Bechtler Museum of Modern Art, Bank of America STEM Center for Career Development, historic Rosedale, and NASCAR Hall of Fame • Silent Auction to raise funds for scholarships to SEMC’s 2017 Annual Meeting • Extensive networking with your Southeastern museum colleagues

SHERATON CHARLOTTE HOTEL

is our host hotel — in the heart of Charlotte’s vibrant uptown

location: Sheraton Charlotte Hotel, 555 South McDowell Street, Charlotte, NC 28204. Call toll free 1.800.325.3535 ADVANCE REGISTRATION IS NOW CLOSED, BUT YOU CAN REGISTER ONSITE AT THE CONFERENCE: Onsite Full Conference: $375 Onsite Single Day Conference: $200 Student Full Conference: $225 Student Single Day: $100 9

KEYNOTE SPEAKER

Elizabeth Merritt, Vice President, Strategic Foresight, and Founding Director, Center for the Future of Museums at the American Alliance of Museums. We’re excited to welcome Elizabeth Merritt, one of the foremost experts on the challenges and opportunities facing museums today, as the SEMC 2016 keynote speaker. Her talk, “A Glimpse of the Future,” will take us on a guided tour of some the themes of this year’s TrendsWatch report. She’ll explore how these trends are playing out in our communities, which ones will likely have the greatest effect on our institutions, and how our museums can best take advantage of the opportunities (or avoid the risks) these trends present. Elizabeth Merritt’s areas of expertise include strategic foresight, museum standards and best practices, ethics, collections management and planning, and assessment of nonprofit performance. Her books include National Standards and Best Practices for U.S. Museums and the AAM Guide to Collections Planning. She blogs for CFM at futureofmuseums.blogspot.com and tweets as @futureofmuseums.

The Alliance’s Center for the Future of Museums (CFM) helps museums explore the cultural, political and economic challenges facing society and devise strategies to shape a better tomorrow. CFM is a think tank and R&D lab for fostering creativity and helping museums transcend traditional boundaries to serve society in new ways. 10

PARTICIPANTS AT THE SEMC 2016 ANNUAL MEETING IN CHARLOTTE WILL EXPERIENCE

SHERATON CHARLOTTE HOTEL

is our host hotel — in the heart of Charlotte’s vibrant uptown

GET INVOLVED AT THE SEMC 2016 ANNUAL MEETING CAREER CENTER RESUME REVIEWER Experienced museum professionals are needed to review and critique job-seekers’ resumes at the Annual Meeting Career Center. For more information, contact Career Center Coordinator Elise LeCompte, 352.273.1925, lecompte@flmnh.ufl.edu. SEMC SILENT AUCTION Showcase your museum or share your hobby and support SEMC by donating an item for our Silent Auction! All proceeds will be used to fund 2016 Annual Meeting Scholarships. Download a donation form at www. SEMCdirect.net or contact Silent Auction Coordinator Jenny Lamb, 615.483.5401, jennylamb98@gmail.com.

SPECIAL SESSION TRACKS

We’ve organized our sessions into tracks to make it easier to organize your SEMC 2016 experience. Complete session tracks will be posted on our website, SEMCdirect. net, but here are some of the highlights. SOCIAL ISSUES SEMC is tackling today’s complicated social issues with Museums Stand Up, Talking OUT LOUD: Creating Programming and Safe Space for the LGBTIQ Communities, and A Conversation on Museums and Race. EMERGING MUSEUM PROFESSIONALS Jump-start your career with SEMC 2016 networking opportunities and sessions like Skills that Emerging Museum Professionals Should Acquire. Discover the latest student research in Spotlight on Student Research in Museums session. And don’t miss the special EMP meet-up. EDUCATION We’ve planned a host of sessions geared to museum educators, no matter what type of museum you’re involved with. Successes and Failures in Museum Education, Engaging Adults and Making it Meaningful, Do You Speak Visual: A Practical Guide to Promoting Visual

Literacy, and Characters and Conversations are just some of the on-site sessions. CURATORIAL Curators won’t want to miss on-site sessions such as Embracing Traditional Curatorial Roles While Collaboratively Facilitating Innovation and Visitor-Centered Exhibitions: Creating/Curating/ Collaborating. Head off-site to the Exhibit Review at the Levine Museum of the New South. Afterwards enjoy a beverage with your colleagues at the NAME meetup at The Cellar at Duckworth’s. EXHIBIT DESIGN The popular Mistakes Were Made: Exhibition Failures returns this year. We’ve also added Visitor Centered Exhibitions: Creating/Curating/Collaborating and The Art of Captivating Audiences in the Information Age. And don’t miss the annual Exhibits Networking Meet-Up sponsored by NAME. COLLECTIONS/REGISTRAR Learn about Untangling the Challenge of Deaccessioning as well as Museum Storage Planning or the hands-on Basic Condition Reporting. HISTORIC HOUSES Kick off the conference with HHMAG’s annual Hands-On Help Project. This year they’re headed to Historic Rosedale and the Latta Plantation. On-site sessions include Rethinking Historic House Museums, Characters and Conversations, and A Time Forgotten: Addressing Difficult Topics at Your Historical Site. Catch up with your colleagues at the House Museum Social and the HHMAG Business Meeting. TECHNOLOGY Want to add more technology to your museum? Discover the latest innovations with A Space Odyssey: Pushing the Boundaries of Digital Mobile Media, the annual Technology Showcase, and Using 3D Printing in Museums. PHILANTHROPY/FUNDRAISING Looking for new ideas to amp up your fundraising and development efforts? Consider How to be a Fundraising Superhero for Your Museum, Museum Events: A Positive Impact, or Creating a Culture of Philanthropy. 14

MARKETING/COMMUNICATIONS Your institution’s brand has never been more important. Explore the latest in marketing and communications with Brand 360: Developing Your Institutional Identity, Tackling Complex Web Projects, or Tailoring Your Social Media Plan.

where TRADITION & INNOVATION meet 2016 SEMC October 10–12, Charlotte, NC

JIMI 2016 Class: front row, l-r: Amy Beisel, Kathie Thurman, LaNesha DeBardelaben, Rebecca Wade, Melina Ludwig, Holly Brown, Allison Hiblong. second row: Danielle Petrak, Lisa Nicoletti, Melissa Parris, Jessica Shillingsford, Ashley Oswald, Kendall Chew, Claire Gwaltney, Debra Watkins. third row: Timothy Barber, Richard Harker, Gary Spencer, Christian Cotz, Ashley Mann.

ANNOUNCING JIMI 2017

The Southeastern Museums Conference (SEMC) proudly announces the 17th annual Jekyll Island Management Institute (JIMI 2017). Scheduled for January 17–24, 2017, JIMI is specifically designed for administrators from new and emerging museums and for museum professionals with subject area expertise desiring knowledge of general museum administration and operations. The deadline for JIMI 2017 applications is October 28, 2016.

Located on historic Jekyll Island, GA, this highly successful training program provides a unique eight-day immersion for museum professionals seeking the opportunity to learn management, personnel and interpretive skills from leading experts. Sessions include leadership and management styles, administration and trusteeship, strategic planning, fundraising and marketing, financial management, developing exhibits, public relations, collections

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management, disaster preparedness, interpretation, volunteer management, and museum ethics. Through the generosity of friends and colleagues of the late Peter S. LaPaglia, the Southeastern Museums Conference (SEMC) and the Jekyll Island Management Institute (JIMI) are pleased to offer the Peter S. LaPaglia JIMI Scholarship to cover the cost of tuition. In past years, several state associations, including the Arkansas Museums Association, North Carolina Museums Council, Mississippi Museums Association, and South Carolina Federation of Museums, offered scholarship and/or travel assistance to its members. In addition, John and Cynthia Lancaster offer scholarship assistance to a member of the Tennessee Association of Museums. Thanks to the generosity of the Smithsonian’s National Museum of African American History and Culture (NMAAHC), the Southeastern Museums Conference (SEMC) is pleased to offer 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). The two annual scholarships of $1,625 each will cover the tuition for JIMI and travel expenses. The John Kinard Scholarship Fund is established in collaboration with the Smithsonian’s National Museum of African American History and Culture (NMAAHC). Created by an Act of Congress in 2003, the Museum opened on the National Mall in

Washington, D.C., on September 24, 2016. For information on the Museum’s current programs and exhibitions visit www.nmaahc.si.edu or call 202.633.4751. Please note AAAM membership on your JIMI application. Applications for JIMI and the Peter S. LaPaglia JIMI Scholarship are currently available at the website address shown below, with an October 28, 2016 deadline for submitting applications. JIMI is a SEMC program sponsored by Goosepen Studio & Press, Inc., Jekyll Island Museum and Historic Preservation, LaPaglia Companies, Satilla Computer Solutions, and North Carolina Division of State Historic Sites and Properties. We gratefully acknowledge support from Gaylord Brothers and Goosepen Studio & Press for additional JIMI 2016 scholarships. JIMI alumni will have a reunion meeting at the annual SEMC meeting in Charlotte, NC, October 10–12, 2016. In addition, members of the JIMI Class of 2016 will lead a session to discuss their experiences and answer questions about the JIMI program. For additional information, contact Martha Battle Jackson, JIMI Administrator, 919. 733.7862, ext. 236, martha.jackson@ncdcr.gov; John Lancaster, 615.210.7933, jsl2d@me.com; or, Susan Perry, Executive Director, SEMC, 404.814.2048, sperry@semcdirect.net or, download an application at www.semcdirect.net.

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COME ON HOME TO JEKYLL ISLAND: JIMI HOMECOMING 2017

The JIMI Committee is pleased to announce the Fifth Annual JIMI Homecoming for JIMI alumni.

The cost of the dinner is TBA. There will be a bartender, and all alumni are responsible for their own tab and tips.

The awards banquet for the JIMI Class of 2017 is a chance to meet and congratulate the new JIMI class and to mingle with fellow alumni.

If you wish to attend, please contact Martha Battle Jackson before Friday, January 6, 2017: martha.jackson@ncdcr.gov or 919.733.7862, ext. 236.

The awards banquet in the historic Jekyll Island Clubhouse takes place on Tuesday, January 24, 2017.

Space is limited, so reservations will be taken on a first-come, first-served basis.Â

AASLH 2016 LEADERSHIP IN HISTORY AWARD WINNERS The American Association for State and Local History (AASLH) recently announced the winners of the 71st annual Leadership in History Awards, the most prestigious recognition for achievement in the preservation and interpretation of state and local history. This year, AASLH conferred sixty-three national awards honoring people, projects, exhibits, and publications. “The Leadership in History Awards is AASLH’s highest distinction and the winners represent the best in the

JOIN US! TUESDAY OCT. 11 — Session Schedule

Off-Site Session — Exhibit Review

The Art of Captivating Audiences in the Information Age

field,” said Trina Nelson Thomas, AASLH Awards Chair and Director, Stark Art & History Venue, Stark Foundation. “This year, we are pleased to distinguish each recipient’s commitment and innovation to the interpretation of history, as well as their leadership for the future of state and local history.” The Leadership in History Awards Program was initiated in 1945 to build standards of excellence in the collection, preservation, and interpretation of state and local history

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throughout America. Each nomination is peer-reviewed by AASLH’s state captains. Final awards are decided by the Awards Committee, comprised of AASLH’s fourteen regional representatives and the National Awards Chair. Congratulations to the AASLH 2016 Leadership in History Award recipients from the Southeast: Florida HistoryMiami Museum for the exhibit Operation Pedro Pan: The Cuban Children’s Exodus. Louisiana The Historic New Orleans Collection for the project Purchased Lives: New Orleans and the Domestic Slave Trade, 1808–1865. West Baton Rouge Museum for the project Cohn High School: How We Love Thee. North Carolina North Carolina Museum of History for the exhibit Starring North Carolina! Greensboro Historical Museum for the exhibit Warnersville: Our Home, Our Neighborhood, Our Stories.

North Carolina Office of Archives and History (Mark Anderson Moore, Jessica A. Bandel, and Michael Hill) for the publication The Old North State at War: The North Carolina Civil War Atlas. Tennessee Stones River National Battlefield for the program Hallowed Grounds: Sites of African American Memories. Historic Travellers Rest Plantation & Museum for the exhibit A Past Uncovered: The Story of the Enslaved People of Travellers Rest. Nashville Public Library for the program Civil Rights and a Civil Society. This nomination is also the recipient of a HIP (History in Progress) Award. Virginia Birthplace of Country Music Museum for the Birthplace of Country Music Museum permanent exhibits. 2016 StEPs Graduate Rowan Museum, Salisbury, NC.

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TURNING A MUSEUM INSIDE OUT In 2014, the Gibbes Museum of Art closed to the public for a comprehensive two-year renovation and expansion (completed May 2016) of its 1905 building. As Director of Collections I was tasked with planning and executing the packing, storage, and return of nearly 10,000 pieces of fine and decorative art over the course of the construction project as well as facilitating the design and up-fit of the Museum’s new Collections Storage Center. While the art movement was a complex, challenging (yet predictable) project, designing the new storage area was an exhilarating, once-in-a-career experience. I worked with an amazing team of architects, environmental conservators, space planners, equipment vendors, curators and art handlers to create quality art storage that allows for future growth of the collection. The entire project was funded through a Sustaining Cultural Heritage Collections grant from the National Endowment for the Humanities. From the beginning our team felt strongly that this space

should be shared with Museum visitors to engage and educate the community on how we preserve artwork. We endeavored to turn the Museum inside out and open fresh conversations about where art lives when not on view. The new Collections Storage Center is 100% secure yet also transparent. Glass windows allow visitors to see the painting racks, view art handlers and registrars at work, read (through interpretive panels outside storage) about what happens in this space, and consider (for perhaps the first time,) “back of house” Museum activities and the professionals who dedicate their careers to preserving the past for the future. As we grow into this new space, the possibilities to engage the public and provide thought-provoking, educational experiences within art storage about why Museums do what we do are endless and truly exciting! Zinnia Willits, Director of Collections and Operations Gibbes Museum of Art, Charleston, South Carolina 22

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EMBRACING TRADITIONAL CURATORIAL ROLES WHILE COLLABORATIVELY FACILITATING MUSEUM INNOVATION The Evolving Role of Libraries in Experiential Learning

â&#x2C6;?

Celia Walker, Director of Special Projects, Vanderbilt University Libraries

rowing demand for object-based learning on university campuses has drawn the focus of faculty and administrators to the power of material culture as tangible historical signifiers. Academic libraries and galleries have embraced exhibitions of rare books, manuscripts and art as a means to support university missions and share materials more broadly.

At Vanderbilt University Libraries, new casework and interactive touch screens provided a vehicle for introducing students, faculty and staff to curatorial methodology. Museums have long understood the teaching power of objects connected to engaging stories. Art works can be natural story-tellers: thoughtful interpretation can allow visitors to draw connections between their experience and

Cara Wilson examines an interactive touch screen. Photo: Jon Erickson. 25

Professor Hanna Roman and students in FR8040, Spring 2016. Photo: Jon Erickson.

the most abstract art work. Books and manuscripts, part of everyday life, have the advantage of being familiar and thus more approachable to non-professionals.

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of their own learning….” [Schmiesing and Hollis: 470] and can make the learning experience more meaningful, as it appeals to diverse learning styles, and foster creativity and imagination. Student-curated exhibitions

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critical thinking skills and provide context to classroom lectures, archivists note the less obvious benefits of improving student writing skills by teaching students to write to a broad audience rather than an individual expert; exposing students to career options that utilize their degrees; fostering interdisciplinary thinking; and raising awareness of library resources. For the library, student-curated exhibitions can raise the profile of the library on campus, strengthen campus collaboration, draw donations, stimulate archivists’ teaching skills, and inform collection development. Exhibitions may be used

to target underrepresented groups for instruction in library resources and services. They can also break down barriers between students and librarians. Exhibitions can lead to improved neighborhood relationships and support student recruitment.

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Last December, Vanderbilt University put forward a new academic strategic plan that highlighted co-curricular engagement, cross-college teaching and immersion to enrich the undergraduate residential experience, one of four key themes or pillars of the strategic plan. While many of the universityâ&#x20AC;&#x2122;s undergraduates already have options for an immersive experience through a capstone or summer research project or through study abroad, Immersion Vanderbilt provides additional opportunities for all students to participate. It also gives the library the chance to expand on relatively new initiatives such as the exhibitions program that provide immersive undergraduate experiences. Our development of these new programs began with a 2009â&#x20AC;&#x201C;2010 renovation. In 2009, the library was given the opportunity to add a community room, cafe, group study rooms and two floors of exhibition space in its 1941 Central Library. I was given the opportunity to develop a broad exhibition initiative, envisioned by an innovative library dean who wanted to raise awareness of our special collections through exhibitions. The initial physical components of the exhibition program were seven inset cases, built into the walls where our card catalog had been housed, and nine pedestal cases. Technological components included nine interactive touchscreens, one large exterior display, a wall projection, and a floor projection. Along with the new spaces, our exhibit mission evolved from a vehicle for promoting

Kate Devine lays out her case for French 8040. Photo: Charlotte Lew.

new circulating titles and occasional campus events to one focused on primary sources and co-curricular themes. One of the first tasks was to find a team who could oversee the critical pieces of the exhibition business and, as a former museum curator, I modeled the group on what I knew: I began looking for an exhibit designer, registrar and curator; a skeleton crew for the program. Lourdes Santa-Maria Wheeler and Amy Chen have commented on the marginalization of curatorial skills in library job descriptions. Frequently, curatorial work is considered a secondary job responsibility in ARL posted positions [Chen, et. al.: 67] and for those job openings that include exhibits, only approximately one-quarter list curatorial

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Sharon Si presents on her case for History of Art 2288. Photo: Charlotte Lew.

I tapped colleagues whom I knew to have design skills and sensitivity to material culture to form our team: Charlotte Lew, a former preservation assistant, became our exhibition designer, working on layouts, supports, and installation design. Kathy Smith and her colleagues in Special Collections, managed the registrarial piece, tracking object

pe rie nce

experience as a required qualification. Moreover, these skills are rarely part of the standard MLIS program [Holzenberg:12]. Kelli Hansen suggests that this indicates that libraries believe that staff can learn these skills on the job [Hansen: 127–128]. Exhibitions are often viewed as “fringe” work in a traditional collections-based library.

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movement and securing the objects. Like many registrars, Kathy has a deep knowledge of the collections and was instrumental in identifying an exhibition topic that would engage audiences and encourage buy in during that first critical exhibition.

fields for caption and description content (although at 6 years old, it is about time to change it out). Henry’s Photoshop skills and art background made him an ideal person to create segments for our exterior exhibit, a 5’ by 40’ LED that wraps around the corner of our building.

During the first year, I reached out to our liaisons — librarians with one or two masters who support specific disciplines in the academy — to serve as curators. I was busy getting the cases and workflow ready; otherwise I might have curated the shows myself. To my surprise, many of these experts had limited knowledge of primary resources in Vanderbilt’s Special Collections — constraining their ability to share some of our most powerful resources. And so necessity led to unexpected benefits — librarians became more familiar with the special collections in their areas and could share them with the faculty and students. Inspired by the Newseum, we chose to feature touchscreens throughout the galleries to allow visitors to learn more about items of interest. This required us to ramp up a digitization workflow and develop policies for exhibitions metadata. Our digital imaging specialist, Henry Shipman, took on the task of scanning and photographing items along with his co-worker, Phil Nagy. Anode, a digital and interactive design studio based in Nashville, designed our nine touch screens and loaded the library’s content in the first year. The software allows viewers to see the objects in three scales, from thumbnail to full screen, along with

Along with the touchscreens and the exterior exhibit, we added a wall projection that currently contains quotations from well-known books. We wait a bit to show the sources of the quotes to make the work more interactive for viewers to see if they can recall the author. We’ve also used the projector to project an image created by a studio art class this spring. During the second year of exhibitions we hired Carla Beals as digital projects manager; Sara Sterkenburg, a metadata expert who works with curators to be sure that our data is accessible and consistent and has taught them XML; and Mary Anne Caton, who has taken on the role of programming in much the way an education curator would work, developing events that engage the community and maximize the work we all put in to the exhibitions. All of the team members work part time on exhibitions. As director, my role is to negotiate support from administration, keep the exhibitions on track, build collaborations across campus, and look for opportunities for my team to further their development. Each

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member of the exhibition team is encouraged to present on their work, to cross-train with their colleagues, and has the option to curate an exhibition (and many do). Last year, inspired by the university’s new academic strategic plan, we took our instruction into the classroom. A graduate class in French history examined the Morris Wachs Collection of Eighteenth Century French fiction in the library’s W.T. Bandy Center for Baudelaire and Modern French Studies to understand how society changed during the Enlightenment. An undergraduate medieval art history class compared illuminated manuscripts and contemporary artists’ books in the library’s special collections to appreciate why we still value unique books. Each class met three or four times with the exhibit team to cover curatorial basics. We also brought in a panel of three local museum curators to discuss why we curate exhibitions. For those interested in a museum career, this was a good opportunity to network. Each student was responsible for one or two cases and for writing descriptions to use on an Omeka website and on the interactive touch screens. At the semester’s end, the students installed their exhibits and presented on their topics in front of their cases. The library recorded the presentations to use on the students’ websites. Acting on a request from one of the faculty, we created Emma announcements for

the exhibits, which led to off campus publicity. We’re now using the display to draw more faculty to the process, with the goal of booking out several years as our museum colleagues do. Vanderbilt is not alone in providing outreach to audiences through library exhibitions. A 2010 survey of academic research libraries showed that 78 of the 79 responding institutions had curated both physical and digital exhibitions. [Berenbak, et.al.] An astonishing 95% of Association of Research Libraries have an online presence for exhibitions. Several of them feature exhibitions on their home page. In 2007, Deborah Wyeth remarked on the evolving role of exhibitions and its ripple effects within the library: “Clearly, libraries and archives are adopting some aspects of museum practice: acquiring and managing collections of artefactual objects and realia, establishing onsite and Web exhibition programs, and increasing outreach activities aimed at drawing people to their collections. Techniques borrowed from museums include technical skills such as registration and collections management; visually striking exhibition, gallery, and Web site design; and the creation of interpretive content for exhibition didactics, subject labeling, and publications [Wyeth: 54].”

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BMW Isetta Microcar, collection Lane Motor Museum, The Sixties at 50 exhibition, Vanderbilt University Libraries, 2010. Photo: Steve Green.

As our exhibition program evolves, I hope to develop new ways to reach out to students and faculty through the program. So long as we maintain a willingness to experiment with the understanding that not everything will work

as we planned, let’s be open to changing up the program and opening new doors to participants. My colleagues at other libraries and archives have already experimented with new ways to use primary sources, any of which would

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benefit a museum or historical society: The University of Virginia has worked with students to catalog collections; University of Wyoming archival methods students created K-12 lesson plans for special collections; at Lafayette College, students wrote a play based on oral histories; at UCLA’s Powell Library, students recorded interviews with artists for deposit in the collections; and Tulane University’s Amistad Research Center introduced students from underrepresented populations to library and archival work through community archive projects.

Fellowship Program and the Future of the Academy (September 2015) https://www.clir.org/pubs/reports/pub167/expanding.pdf Hansen, Kelli. “Education, Training, and Recruitment of Special Collections Librarians: An Analysis of Job Advertisements.” RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage. (September 2011) 12:110–132. http://rbm.acrl.org/content/12/2/110.full.pdf+html Holzenberg, Eric. “Bridging the Gap: Education and Special Collections—The 46th RBMS Preconference.” RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage (Spring 2006) 7:12–15 http://rbm.

As the things that connect our institutions become more visible, opportunities to collaborate and learn from each other will grow. Staff must be willing to learn new things, to take risks, and to sometimes be working “on the fringe.”

acrl.org/content/7/1/12.full.pdf+html Schmiesing, Ann and Deborah R. Hollis. The Role of Special Collections Departments in Humanities Undergraduate and Graduate Teaching: A Case Study. Portal: Libraries and the Academy. 2003 No 2:

bibliography

3, p. 465–480. https://muse.jhu.edu/article/27253 Vanderbilt University. “Discovery and Learning: An Academic Strategic

“List of ARL Members.” Association of Research Libraries. http://www.

Plan in Service to Humanity” http://www.vanderbilt.edu/strategicplan/

arl.org/membership/list-of-arl-members

December 2015

Berenbak, Adam et. al. SPEC Kit 317: Special Collections Engagement

Wythe, Deborah. “New Technologies and the Convergence of Libraries,

(Association of Research Libraries. (August 2010).

Archives, and Museums.” RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage (Spring 2007) 8:51–55. http://rbm.acrl.org/con-

Chen, Amy, Sarah Pickle and Heather Waldroup. “Changing and

tent/8/1/51.full.pdf+html?sid=9282e35a-d681-45e7-a11d-a269d49a7d09

Expanding Libraries: Exhibitions, Institutional Repositories, and the Future of Academia.” The Process of Discovery: The CLIR Postdoctoral

NCFL#7452

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A SPECIAL THANKS SEMC Endowment Contributions Many thanks to our endowment contributors for investing in the future of SEMC! When you are thinking of honoring or remembering someone, please consider a contribution to the SEMC endowment. For more information, contact Executive Director Susan Perry at 404.814.2048 or sperry@semcdirect.net. Priscilla Hancock Cooper Dawn Deano Hammatt Julie Harris Catherine M. Pears Robin Seage Person Deitrah J. Taylor

THE PAST PRESIDENTS CIRCLE

Graig D. Shaak Nancy & Robert Sullivan

Members of the Past Presidents Circle contribute $150 annually for at least two years to the endowment fund:

Medallion Alderson Fellows (minimum $2,500) George Bassi Sharon Bennett Tamra Sindler Carboni Martha Battle Jackson Pamela Meister Richard Waterhouse

George Bassi Sharon Bennett Tom Butler Tamra Sindler Carboni Micheal A. Hudson Douglas Noble Robert Rathburn Graig D. Shaak Robert Sullivan Kristin Miller Zohn

THE WILLIAM T. AND SYLVIA F. ALDERSON ENDOWMENT FELLOWS Thirty members of SEMC have made commitments of distinction as Alderson Fellows. Their investment of at least $1,000 each is a significant leadership gift, reflective of a personal commitment to the professional association that has meant so much to each of them. Platinum Alderson Fellows (minimum $5,000) Sylvia F. Alderson Bob Rathburn

Our Current Alderson Fellows (minimum $1,000) T. Patrick Brennan Michael Brothers W. James Burns David Butler William U. Eiland Horace Harmon Brian Hicks Pamela Hisey Micheal Hudson Rick Jackson Andrew Ladis Elise LeCompte Allyn Lord Michael Anne Lynn R. Andrew Maass Darcie MacMahon Robin Seage Person Allison Reid Steve Rucker Kristin Miller Zohn

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 $20,842. Catherine M. Pears

OTHER SEMC CONTRIBUTIONS These funds contribute to the annual meeting or to the general operating funds for SEMC: Sharon Bennett (JIMI) Jeana DeBenedetto (AAM/SEMC sponsor)

New or Renewal Memberships Received SEMC thanks those who have renewed or joined our organization for the first time between May and August 2016. Without your support and participation we could not provide region wide services such as our Mentor, Awards, and Scholarship programs, as well as our outstanding Annual Meetings and nationally acclaimed Jekyll Island Management Institute. If you are an individual member and your museum is not an institutional member, please encourage them to join. To learn more about SEMC memberships and benefits, or to join online, visit semcdirect.net. Or contact Mary Miller, Manager of Communications and Member Services, at mmiller@semcdirect.net or 404.814.2047. For your convenience, the last page of this newsletter is a membership application.

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NORTH CAROLINA

Cape Fear Museum’s Reconstruction Gallery.

Cape Fear Museum’s Reconstruction Gallery, which examines life after the Civil War, has been revamped to create a more accurate and inclusive account of life in the region. The time period after 1865, known to historians as Reconstruction, was marked by great changes. Most notably, it was a time when newly-freed African Americans gained social, political and economic rights. It was also marred by the rise of a white supremacy movement that caused one of the most significant events in Wilmington’s history — the race-based violence the city experienced in November of 1898. ¶ The new installation replaces a display that dated from the early 1990s. Since that time, new work has shed light on the events of 1898. The hundredth anniversary of the events of 1898 brought renewed interest to the subject and attempts to fix its place in the state’s history. In 2000, the North Carolina General Assembly set up a Race Riot Commission to examine the history and significance of the events in Wilmington. That commission’s report, published in 2006, formed the basis for a film produced by the North Carolina Museum of History in Raleigh for their Story of North Carolina exhibition. This video is the centerpiece of the renovated Reconstruction gallery. “We work collaboratively with the Museum of History on many projects,” notes Museum Director Sheryl Mays. “It is through their generosity that we are able to provide this new interpretative experience for our visitors.” ¶ Museum Historian Jan Davidson said of the gallery redesign, “We believe our new interpretation will help visitors understand how the events of 1898 were a turning point in the state’s history as North Carolina began to pass wide-ranging segregation laws.” Additional historical information, artifacts and images have been added to enhance visitor’s understanding of the time period. 50

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exhibitions

As part of the Atlanta History Center’s Meet the Past museum theatre program, an actor portrays John M. Slaton, the Georgia governor who commuted Leo Frank’s death sentence in the exhibition Gatheround: Stories of Atlanta. Specially to be performed this diverse new exhibit, the History Center commissioned 10 actor monologues. Two are performed throughout each day on Saturdays and Sundays.

GEORGIA Everyone has a story to tell. History belongs to everyone. These are the guiding principles behind Gatheround: Stories of Atlanta, the Atlanta History Center’s new cornerstone permanent exhibition. Gatheround, which opened this past July, explores the city’s history through stories of individuals who created the Atlanta we know today. They are Atlantans of different backgrounds and perspectives, from unsung citizens who contributed to the city’s progress in modest ways to high-profile leaders who played vital roles in landmark events. ¶ The interactive

exhibition is rooted in the past, but is of-the-moment with contemporary relevance. The information shared and questions raised encourage visitors to consider the metro area’s path to the future through a variety of historical milestones and cultural flashpoints. Gatheround is intended to be a provocative conversation starter – inside the gallery and across the metro area. As a permanently changing exhibition, Gatheround provides a setting for the Atlanta History Center to use its historical lens to grapple with current issues. It features both newly discovered and rarely discussed stories that display the breadth of our experiences as Atlantans. 54

A family looks over a section in Gatheround: Stories of Atlanta dealing with the desegregation of the Atlanta Public Schools in 1961 by a group of African-American students dubbed the Atlanta Nine. The exhibit is on an open-ended run at the Atlanta History Center.

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Jonas Lie (American, b. Norway, 1880–1940), Bridge and Tugs, 1911–15. Oil on canvas, 34½ × 41½ inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by C. L. Morehead Jr., GMOA 2001.179.

The Augusta Museum of History’s exhibition Victorian Augusta, 1875–1900, explores the life of Augustans in the late Victorian era including daily life, education, transportation, and business history. Museum visitors will be treated to a display of photography portraits, elegant gowns, curious household items, souvenirs from the Augusta Expositions, and stories related from first-person perspectives. “The elegance of Victorian design and innovative technology of the era was an inspiration for this exhibit,” remarked Lauren Virgo, the Museum’s Registrar and curator of the exhibition. “It also gives the Museum an opportunity to share artifacts never seen or not seen in a very long time.”

The Georgia Museum of Art at the University of Georgia is featuring two distinctly different exhibitions this fall. Icon of Modernism: Representing the Brooklyn Bridge, 1883–1950, includes 55 paintings, watercolors, works on paper and photographs that all take the Brooklyn Bridge as a subject. Sarah Kate Gillespie, the museum’s curator of American art, chose works of art created between the completion of the bridge (1883) and mid-20th century to show how artistic representations of it changed over time, even as it symbolized modernity for different generations. Artists with work in “Icon of Modernism” include painters, Joseph Stella, John Marin, Yun Gee and Reginald Marsh and photographers Edward Steichen, Walker Evans, 56

Joseph Stella (American, b. Italy, 1877–1946), Study for New York Interpreted: The Bridge, 1917–22. Watercolor and pencil on paper, 24 × 18 inches. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, 85.22.

Weegee and Consuelo Kanaga. ¶ Athens, Georgia, may seem like an unlikely place to host an exhibition on a structure so tied to New York City. However members of the Roebling family, who designed the bridge, lived in Athens for many years. Portraits of Margaret Allison and Ferdinand William Roebling have been on view in the museum’s permanent collection galleries. In addition, the museum’s collection strongly overlaps with the span of time the exhibition covers; an exhibition of related works from that collection will be on view Sept 17 – Dec. 31 in an adjoining gallery. Icon of Modernism is on view through December 11, 2016. ¶ Also this fall, the Georgia Museum of Art at the University of Georgia will exhibit objects of

Russian art never before shown in public. Highlighting a private collection on long-term loan to the museum that is a promised gift, the exhibition Gifts and Prayers: The Romanovs and Their Subjects, will be on display at the museum September 3 to December 31, 2016. ¶ The House of Romanov ruled imperial Russia for 300 years, until the Russian Revolution, in 1917, which replaced the tsars with a Communist government. The court created elaborate gifts for military leaders, attendants, noble families and others, as part of a system of patronage that helped it maintain its power. Those gifts make up this display, which includes such treasures as the personal cigar box of Alexander II commemorating his coronation (which 57

above: Silver icon triptych, 1907. left: Cigar box with enamel miniatures celebrating the coronation of Alexander II.

silver icons. ¶ Assembled by a single private collector, the collection has been virtually unknown for decades. Curator Asen Kirin, professor of art history at the Lamar Dodd School of Art, has selected nearly 200 objects to introduce the collection and its presence at the museum, which will promote its study in years to come.

features individually painted miniatures covering its top), a miniature Fabergé rendition of Peter the Great’s boat, diamond-encrusted brooches worn by ladies of the court, the 1802 Charter of Ennoblement, a luxurious folio volume presented to Lord Durham by Tsar Nicholas I, portraits, statues, photographs of the Romanov family and

KENTUCKY This fall The Hite Art Institute will present Sislej Xhafa’s millimeter sentiments, the artist’s first U.S. solo exhibition, at the Cressman Center for Visual Arts. Born in Pejë, Kosova, Xhafa has spent much of his career exploring issues related to forced illegality, boundary transgression, 58

Photo courtesy the artist and Galleria Continua, San Gimignano / Beijing / Les Moulins / Habana.

Sislej Xhafa at work on his installation piece at the Hite Art Institute. Photo courtesy the artist and Galleria Continua, San Gimignano / Beijing / Les Moulins / Habana.

and tension between authority and the demos. For his exhibition at the Cressman Center, Xhafa has produced a new installation work. Taking its inspiration from around the city of Louisville, millimeter sentiments celebrates material that subtly and sometimes heartbreakingly

memorializes the cityâ&#x20AC;&#x2122;s contributions to revolutionary ideas and practice, taking up the perspectives of those who benefited from such revolution as well as those who did not. The exhibition will be on view through October 28, 2016.

Willie Birch, Two Marys, 1998. Acrylic and charcoal on paper, 86 × 60 inches / 218.4 × 152.4 cm. Courtesy the artist and Arthur Roger Gallery, New Orleans, copyright Willie Birch.

LOUISIANA This fall the Hilliard University Art Museum will present three exhibitions guest curated by Jane Hart, who has over thirty years of experience working with contemporary art. “This is my first time to work in Louisiana and the rich culture of people here has been very inspiring,” said Hart. Face to Face: A Survey of Contemporary Portraiture by Louisiana Artists features work by twelve nationally and internationally acclaimed artists working in a variety of media. It includes Willie Birch, Douglas Bourgeois, George Dureau, Elizabeth Kleinveld & Epaul Julien, Aubrey

Edwards, Deborah Luster, Rashaad Newsome, Tameka Norris, Gina Phillips, Jennifer Shaw, Jonathan Traviesa, and Heather Weathers. This exhibition of visually powerful and evocative work is accompanied by an essay in which Miami-based independent curator Jane Hart states, “During this present moment, we are increasingly witness to social unrest and an escalating violent state of affairs, both at home and abroad. These disturbing conflicts often can be attributed to a lack of understanding amongst us based upon ethnicity, race, religion and other differences. Through depictions of people created by artists, seeing our shared humanity, we can collectively 60

Oliver Wasow, Isa, 2015. Color photograph, 30 × 30 inches / 76.2 × 76.2 cm. Courtesy the artist and Theodore: Art, NYC.

Francie Bishop Good, Comus, 2015-2016. Archival pigment prints on canvas, each 30 × 20 inches / 76.2 × 50.8 cm. Courtesy the artist and David Castillo Gallery, Miami.

come together with a greater tolerance and acceptance.” Face to Face will be on view through January 7, 2017. ¶ On view through December 10 is Francie Bishop Good: Comus, which explores a hybrid form of portraiture that is based on an accumulative layering of digital processes and found imagery. Source material for the series originated in the 1942 and 1967 high school senior yearbooks of the artist and her mother, entitled Comus, from Allentown,

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Beth Moon, Vela from Diamond Nights series, 2015. Color photograph, 20 x 30 inches. At the Louisiana Art & Science Museum.

Pennsylvania. Comprised of 70 works on canvas, Bishop Good’s installation of media-saturated “paintings” forge an intergenerational exchange, as classmates appearing in yearbooks from the 1940s and 1960s are merged to encapsulate a new collective identity. This solo exhibition marks a first in Louisiana for South Florida-based Bishop Good, and was organized by guest curator Jane Hart. ¶ The third exhibition guest curated by Jane Hart is Oliver Wasow: Hudson Valley Studio Portraits. New York based artist Oliver Wasow has been widely recognized for his pioneering use of digital compositing to create sublime imaginary landscapes. In this grouping of recent portraits, Wasow embraces a new approach with his sitters — family, friends and neighbors — who pose as subjects before a green screen background of virtual painterly landscapes. The resulting formal, yet intimate portraits, evoke a romanticized patina of a bygone era. This solo exhibition, on view through January 14, 2017, marks a first in Louisiana for Upstate New York-based Wasow. The tree is a subject that has been celebrated in music, literature, and art for centuries, sometimes in surprising

ways. Named after a passage in the beloved poem “Trees” (1913) by Joyce Kilmer, the Louisiana Art & Science Museum’s exhibition Lovely as a Tree presents this perennial plant from from a new perspective. Artworks in a wide-range of mediums by both local and nationally recognized artists remind visitors about the many ways trees sustain life and renew the human spirit. Lovely as a Tree is on view through November 27.

NORTH CAROLINA Three exhibitions opened at the North Carolina Museum of History this fall. Artwork by Thomas Hart Benton, Minnie Jones Evans, Mary Anne Keel Jenkins, James Augustus McLean and other artists with ties to North Carolina will be showcased in the exhibit Scent of the Pine, You Know How I Feel: North Carolina Art from the Jonathan P. Alcott Collection, which features 73 original works that span two centuries and represent all three regions of the Tar Heel State. The soulful and sultry character of Nina Simone’s song “Feeling Good” inspired the 62

Beer with Head, 1968, by Mary Anne Keel Jenkins. Painting from the Jonathan P. Alcott Collection. Image credit: N.C. Museum of History.

In Clouds on Grandfather Mountain, ca. 1917, by Constance Cochrane. Painting from the Jonathan P. Alcott Collection. Image credit: N.C. Museum of History.

exhibit title. The song evokes the same sense of place and people as the art in Scent of the Pine, which ranges from breathtaking views of the Smoky Mountains to scenes of everyday life. “The variety of works in Scent of the Pine covers numerous styles — from realism and American Impressionism to postmodernism and folk art.” The exhibit will run through Dec. 4, 2016. ¶ Selma to Montgomery: A March for the Right to Vote: Photographs by Spider Martin is on view at the North Carolina Museum of History through

March 5, 2017. On March 21, 1965, more than 2,000 people crossed the Edmund Pettus Bridge in Selma, Ala., to begin a 54-mile march for African American voting rights and equality. The march ended five days later in Montgomery, where Dr. Martin Luther King Jr., and his wife, Coretta Scott King, led crowds into Alabama’s capital city while singing freedom songs. Spider Martin (1939–2003), a photojournalist with the Birmingham News, walked with the protestors, capturing powerful images that brought

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From Selma to Montgomery at the North Carolina Museum of History. Dr. Martin Luther King Jr. (fourth from left) and Coretta Scott King (fifth from left) lead a crowd of civil rights marchers through the streets of Montgomery, Ala., on March 25, 1965. The marchers sang freedom songs like “We Shall Overcome” as they entered the capital city.

international attention to the Civil Rights movement. Selma to Montgomery is curated and circulated by the Birmingham Civil Rights Institute. The exhibition is made possible, in part, by the City of Birmingham and contributions to the Birmingham Civil Rights Institute’s Corporate Campaign. ¶ See North Carolina’s history and beauty through the eyes of photographer Hugh MacRae Morton (1921–2006). His captivating images will be featured in the exhibit Photographs by Hugh Morton: An Uncommon Retrospective on view through Sept. 4, 2017 at the North Carolina Museum of History. “Morton’s images showcase his love for Tar Heel people, events, landmarks, nature, sports and tourism,” said Museum Director Ken Howard. “We are pleased to highlight the work of this prolific North Carolinian whose career spanned eight decades.” From Wheat, Ashford, 1949. Image credit: Photograph by Hugh Morton. © UNC-Chapel Hill Libraries.

From the South Carolina State Museum’s exhibition South Carolina and the Great War.

breathtaking mountain views to scenes of coastal fishermen folding nets, the exhibit covers aspects of Morton’s various experiences as a photojournalist; as a soldier in the Pacific Theater during World War II; and as owner and operator of Grandfather Mountain tourist attraction in Linville. The exhibit’s 87 images feature dozens of his lesser known or unpublished photographs, as well as some classics.

SOUTH CAROLINA The South Carolina State Museum has three exhibitions on view this fall. South Carolina and the Great War, on view through April 9, 2017, will give guests an in-depth look at how one of the world’s most devastating wars impacted life in South Carolina. Guests will discover what life was like in the state on the eve of war, why America decided to join the war and the efforts South Carolina

took to build up forces. The exhibit will also give guests an up-close experience of what life was like for the 3,000 South Carolina soldiers who served overseas as well as what life was like for South Carolinians back at home. In this exhibit, guests will travel back to the beginning of the 20th century, when South Carolina was still recovering from the Civil War. ¶ The South Carolina State Museum will explore how smartphone applications have changed the way we live in a brand new exhibit called App4That, on view through April 9, 2017. Travel through time and learn how applications (apps) have changed the way we listen to music, how students learn, or how families interact with each other. The exhibit will even take guests on a journey over 100 years through the evolution of film. It’s hard to imagine how far we’ve come from the invention of the phonograph to a small handheld device that can hold thousands of songs. In the music and film section of APP4That, guests will travel back to the use of flat disk records that dominated the industry for over 65

From the South Carolina State Museum’s exhibition App4That.

From the South Carolina State Museum’s exhibition ART: A Collection of Collections.

100 years. See how the first audio devices were used and follow the trajectory of this industry from compact discs to iPods and now streaming services. “This exhibit will take a look at how apps have changed the way we live in many ways,” said Tom Falvey, director of education at the State Museum. “We’ll explore the history and evolution of how so many common objects like VCRs, have now been replaced by apps. Part of the fun of this exhibit is that people will be able to discuss the positives and negatives of technology and how they’re lives have been affected.” ¶ The South Carolina State Museum is home to over 4,000 works of art, hand-made objects and various collections within its collection. Many of these pieces have never been on display in the museum. ART: A Collection of Collections will highlight some of these one of a kind collections within the museum’s entire collection. Guests will get to explore works of fine, folk and decorative art made by South Carolina artists that are being grouped into collections within the exhibit based on medium, subject or artist. “This exhibit will showcase rarely seen artwork of South Carolina artists grouped uniquely together that are housed within the museum’s overall collection,” said Paul Matheny, director of collections. “The artwork is enhanced by the fascinating stories of their inception and why they belong with other works of art that give us a new look at South Carolina and its visual culture.” ART: A Collection of Collections will close April 30, 2017.

TENNESSEE The Knoxville Museum of Art’s latest exhibition, Romantic Spirits: Nineteenth Century Paintings of the South from the Johnson Collection, features more than thirty 19th-century masterworks from the renowned Spartanburg, South Carolina-based collection. The paintings in Romantic Spirits present an evocative glimpse into nineteenth-century Southern life, and reveal the importance of oral tradition and “a sense of place” in the development of the Romantic Movement in the South. The exhibition seeks to present a balanced view of how Romanticism evolved in the North and the South, the genre’s ties to Europe, and how culture, customs, education, and travel influenced each artist. It also reveals connections between featured painters and their contemporaries, specifically authors and poets such as Harriet Beecher Stowe, Henry Wadsworth Longfellow, among others. One of the highlights of the exhibition is a masterful still life of peaches by Knoxville artist Lloyd Branson. Romantic Spirits runs through November 6, 2016.

VIRGINIA We Are the Music Makers: Preserving the Soul of America’s Music is a multi-media exhibit of photographs, audio recordings, and video from Tim Duffy, founder of Music Maker Relief Foundation that will be on view at the Birthplace of Country Music Museum in Bristol, 66

From the Knoxville Museum of Art’s exhibition. Lloyd Branson (1853-1925), Still Life with Peaches, 1895, oil on canvas, 17 × 23⁷⁄₈ inches, The Johnson Collection, Spartanburg, South Carolina.

Virginia, through January 6, 2017. For nearly three decades, Tim Duffy has recorded musicians’ songs and stories. He has also taken photographs that powerfully reflect their lives – from the calluses on their fingers from years of playing to the lines on their faces that come from working hard and making music. We Are the Music Makers reflects Duffy’s quest to preserve Southern traditional music by partnering with the artists who make it. It also provokes viewers to ask how poverty, geography and age limit the exposure of these artists, causing the perception that the musical traditions they perform have “died out.” The exhibit includes text panels and stunning giclee-printed and mounted photographs, a variety of instruments and artifacts from Music Maker artists, audio recordings, and folk art. From the exhibition We Are the Music Makers at the Birthplace of Country Music Museum. Essie Mae Brooks. Credit: Photograph by Tim Duffy.

innovations

GEORGIA The Augusta Museum of History hosted the first Escape Room in Augusta, Georgia. Escape Rooms are popping up all over the country. They’re a physical adventure game in which players are locked in a room and have to use elements in the room to solve a series of puzzles in order to escape within a set time limit. Guests will experience their Museum Escape Program in an actual museum setting in the new Victorian Era exhibit Augusta 1875–1900, where they will be asked to solve a mystery: A body has been found at a Mill in Augusta, GA. It is up to you and the newly formed police force of the Night Watch to discover the killer’s identity and the Mill at which the shocking murder took place. You have 45 minutes to use the clues and solve the puzzles to save our city. The Museum is planning three new “escape” room experiences in other exhibition spaces in the fall and spring 2017. ¶ The Augusta Museum of History has just announced the availability of audio tours in the exhibition galleries of Augusta’s Story.

This new audio tour and interactive sites allows visitors to us QR codes to create their own museum experience. Simply download a free QR code reader on your phone, look for the Audio Tour labels and scan the code! In addition, they offer free wi-fi to their guests. 68

VIRGINIA The Jamestown Settlement and the Yorktown Victory Center, transitioning in October to American Revolution Museum at Yorktown, has introduced a new online personality quiz that invites participants to discover what they have in common with people of the American Revolution. How Revolutionary Are You? is an amusing take on history. Featuring 20 individuals who lived during the Revolution, the quiz provides a window into the American Revolution Museum at Yorktown, where an introductory film and permanent exhibition galleries will debut on October 15. A living-history Revolution-era farm and Continental Army encampment under construction will be completed in early 2017. Through period artifacts and immersive environments, dioramas, short films and interactive exhibits, the expansive new galleries â&#x20AC;&#x201D; along

with the introductory film and the new living-history areas â&#x20AC;&#x201D; will link the story of the Revolution to the lives of 21stcentury Americans. Visit historyisfun.org to take the quiz.

people and places ALABAMA Dr. John Hall, director of the Black Belt Museum at the University of West Alabama, died on June 7, 2016. His legacy as a museum historian will be remembered in Alabama.

the Charlotte region,” said Andrew Plepler, Board Chair of Levine Museum of the New South. “She brings a genuine passion for using history as a vehicle to promote dialogue and civic engagement to help address contemporary challenges in our community.”

NORTH CAROLINA

SOUTH CAROLINA

Kathryn Hill, a national museum consultant and former Chief Operating Officer of History Colorado, has been named President and CEO of Levine Museum of the New South. Hill brings 30 years of museum and nonprofit experience to Charlotte. She has worked in leadership positions at renowned museums in Washington, D.C., Atlanta and Chicago — including the U.S. Holocaust Memorial Museum, one of the Nation’s most visited museums. She also has worked as a management consultant with more than two dozen other museums and cultural organizations around the country. In Denver, Hill oversaw the 2012 construction of the $142 million History Colorado Center, as well as its operations, where her efforts to enhance exhibitions, build new audiences, and increase visitors led History Colorado to be recognized as one of the top 12 museums in the country by the Smithsonian Institution. “Kathryn’s depth of experience at some of the finest institutions in the country will help advance Levine Museum and our commitment to being a constructive partner in

Porchia Moore has joined the Board of Directors for the Museum Education Roundtable (MER). Formed in 1969, the Museum Education Roundtable fosters professionalism among museum educators by encouraging leadership, scholarship and research in museum- based learning. MER provides leadership in professional development for a broad and diverse audience of museum practitioners and educators. Her service with the Board began in August, 2016. “As both an academic and practitioner, I most excited about joining MER because of its legacy and tradition of publishing one the most prestigious museum journals in our field, The Journal of Museum Education. Please watch for my forthcoming essay in the JME on race and museums (a JME special edition).”

VIRGINIA Mark Howell of Williamsburg has joined the JamestownYorktown Foundation as director of education, one of 70

two new positions in the Foundation’s Museum Operations and Education Division led by Senior Director Peter Armstrong. Pam Pettengell of Williamsburg, director of outreach education and special services for the past 12 years, is now director of programs and partnerships. Howell will direct historical interpretation at Jamestown Settlement and the Yorktown Victory Center (transitioning in October to American Revolution Museum at Yorktown), educational programs at both museums, and on-site and outreach curriculum-based education programs. Pettengell will direct planning and implementation of programs and partnerships related to special exhibits, conferences, publications and distance learning, oversee the Foundation’s customer research program, and serve as a liaison to other organizations. “To truly appreciate the United States today, it’s essential to understand how it got started, both as a colony and as a new nation,” Howell said. “I’m honored to help lead the work of the historical interpreters and educators at Jamestown Settlement and the new American Revolution Museum at Yorktown in making history relevant to our lives today.” Howell previously managed special projects for the Williamsburg Regional Library and the Historic Virginia Land Conservancy and education programs at the Library of Virginia and the American Civil War Center in Richmond. As a principal at Howell Consulting, he worked with numerous museums, including Thomas Jefferson’s Monticello, George Washington’s Mount Vernon, Historic Hudson Valley and Andrew Jackson’s Hermitage. Howell began his museum career at the Colonial Williamsburg Foundation, where he ultimately served as director of program development. He holds a master’s degree in American Studies from the College of William and Mary and a certificate

from the Seminar for Historical Administration. Before coming to the Jamestown-Yorktown Foundation in 2004, Pettengell worked for a year as interim executive director of the Association for Volunteer Administration and for two decades at the Colonial Williamsburg Foundation in positions ranging from historical interpreter to senior director of Historic Area support operations. She holds a bachelor’s degree in history from the University of Florida, completed graduate studies in museum education at the College of William and Mary, and holds an Advanced Human Resources Certificate from the Society for Human Resource Management.

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PROFESSIONAL DEVELOPMENT Philanthropy Leadership Program March 31 – April 3, 2017 The next PLAN-MGO program is scheduled for March 31 to April 3, 2017. PLAN-MGO is an immersive, four-day training event that transforms development professionals into Master Gift Officers by reengineering the nature of their relationships with donors, goals, asks, and stewardship. PLAN-MGO is designed for staff, trustees, board members, and others engaged in not-for-profit fundraising. It offers coaching and tools designed to identify and eliminate old, unconscious paradigms and assumptions which limit fundraising success, as well as to bring out the inherent brilliance of each participant. For more information visit www.planmgo.com. National Council of History Education Annual Conference March 30 – April 1, 2017 Educators can register now to attend the National Council of History Education annual conference to be held in

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Atlanta, March 30 to April 1, 2017. Attendees will have the opportunity to take part in special excursions, including Democracy Restored, a guided tour of the Georgia capitol sponsored by Georgia Humanities. The keynote speakers are Edward Larson, Pepperdine University and Micki Mcelya, University of Connecticut. More information can be found at www.nche.net/conference. Public History Conference June 14–17, 2017 The Avery Research Center for African American History and Culture, Addlestone Library, and the Carolina Lowcountry and Atlantic World Program at the College of Charleston are co-hosting a Public History conference entitled “Transforming Public History from Charleston to the Atlantic World,” June 14–17, 2017, at the College of Charleston. More information can be found at claw.cofc. edu/conferences.

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important dates nov 15 Winter 2017 Inside SEMC article and ad deadline oct 10–12 SEMC 2016 Annual Meeting, Charlotte, NC oct 28 JIMI 2017 Applications Due jan 17–24, 2017 JIMI 2017, Jekyll Island, GA feb 27–28, 2017 Museums Advocacy Day, Washington, DC may 7–10, 2017 American Alliance of Museums Annual Meeting, St. Louis, MO

semc job forum SEMC Job Forum offers employers and job seekers the ability to search and post jobs on SEMC’s website. SEMC Job Postings are now self-serve for a flat fee of $20 each job description, regardless of the word count. SEMC Member Institutions may post a job announcement to this forum and pay-per-post by following the link: Job Posting $20.

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membership Name _________________________________________________________________________ ____________________________________________________________________________________________________ Position_______________________________________________________________________ ____________________________________________________________________________________________________ Institution _____________________________________________________________________ ____________________________________________________________________________________________________ Address _____________________________ City__________ State_______ Zip ____________________________________________________________________________________________________ Phone _____________________________ Fax ________________________________________ ____________________________________________________________________________________________________ Email Address __________________________________________________________________ ____________________________________________________________________________________________________ Individual Membership  Individual. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $45 $_______  Student . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $25 $_______  Retired . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $25 $_______  Benefactor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $75 $_______ Institutional Membership (based on annual budget)  Below $100,000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $50 $_______  $100,000 - $249,999 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $150 $_______  $250,000 - $499,999 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $250 $_______  $500,000 - $1 million . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $350 $_______  $1 million - $5 million . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $450 $_______  Over $5 million . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $550 $_______  Academic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $250 $_______ Corporate Membership  Business Associate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $350 $_______  Corporate Friend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $1,000 $_______  Corporate Partner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $2,100 $_______ A special gift of $_________ is enclosed to help support SEMC’s endowment. ___ Check enclosed (payable to SEMC) ___ I wish to pay with a credit card MasterCard  Visa  AMEX Credit Card #_____________________________________ Exp. Date ___________ | Signature (required for all credit card charges): _____________________________________________ mail to: SEMC/PO Box 550746/Atlanta, GA 30355 | or fax to: 404.814.2031 | SEMC FEIN #54-1042825

where TRADITION & INNOVATION meet 2016 SEMC October 10â&#x20AC;&#x201C;12, Charlotte, NC