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Museum Store A PUBLICATION OF THE MUSEUM STORE ASSOCIATION
SOUVENIR SALES THROUGH TIME: A BRIEF HISTORY OF NONPROFIT RETAIL
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CAN’T THEY DO IT RIGHT: WHY YOUR EMPLOYEES ARE UNDERPERFORMING
SUMMER 2016
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BUSINESS PLANS: THIS IMPORTANT DOCUMENT CAN GUIDE YOUR DAY-TO-DAY ACTIVITIES
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$15
Summer 2016 | Volume 44 | Issue 2
FEATURE
24 A Brief History of Nonprofit Retail
The museum store concept is much older than you might imagine. by Jamie Larkin
ARTICLES & MORE 4 Letter from the Board President 6 Why Popcorn Belongs to MSA
The value of the Museum Store Association from a vendor member’s perspective. by David Graveen
10 Plan Ahead
Business plans are not just for new enterprises; they can ensure you are on track at any point. by Andrew Andoniadis
16 Rolling Out the Red Carpet
There is never a bad time to focus on the customer experience. by Donna Cutting
20 Underperformance Artists
When an employee is not meeting your expectations, there may be more than one reason why. by Kate Zabriskie
22 Value Proposition
Take care to show your employees that they are appreciated. by Laura MacLeod, LMSW
30 Member Story
Becoming smaller led to big improvements for the National Museum of Toys and Miniatures. by Steve White
32 Vendor Story
A message of hope exists within each of the well-designed accessories from Lapis Lazuli Jewelry Distributors. by Kimberly Field
44 Donor Story
A note from Kristen Daniels of Kamibashi.
45 Community Updates 46 Ad Index
BUYER’S GUIDE
MANAGING EDITOR
Dana R. Butler dbutler@museumstoreassociation.org
MUSEUM STORE ASSOCIATION 789 Sherman St. Denver, CO 80203 Phone (303) 504-9223 Fax (303) 504-9585 info@museumstoreassociation.org museumstoreassociation.org
SKIES AMERICA PUBLISHING COMPANY ART DIRECTOR
Michelle Fandrey EDITOR
Samantha Edington MUSEUM STORE MAGAZINE ADVERTISING
Diana Grossarth (503) 726-4986 dgrossarth@museumstoreassociation.org PRODUCTION MANAGER
Cindy Pike CIRCULATION
John Mendez Museum Store magazine (ISSN 1040-6999) is published by the Museum Store Association. Museum Store Association and MSA are registered in the U.S. Patent and Trademark Office. Postmaster: Send address changes to Museum Store Association, 789 Sherman St., Denver, CO 80203 © 2016 Museum Store Association, Inc. All rights reserved. Except for the inclusion of brief quotations in a review, no part of this magazine may be reproduced or used in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from Museum Store Association. Opinions expressed by contributors are not necessarily those of the Museum Store Association. Printed in the USA. On the Cover: The West Building façade of the National Gallery of Art in Washington, DC. Photo: Rob Shelley, National Gallery of Art, Washington, DC
36 Buyer’s Guide: Holiday Gifts
It’s time to start planning ahead for the gift-giving season in terms of merchandise and display. M U S E U M S TO R E
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FROM THE BOARD PRESIDENT
MSA Board of Directors
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managing toward success! e use our management skills every minute, every hour, every day. Whether we are managing our stores, staff, bosses, workload, personal duties, or social calendars, managing is a 24/7 skill that we all need to constantly develop, learn, and strive at. The work of the MSA board of directors is to manage the overall direction of the association and represent you, the MSA membership, in determining and expecting appropriate performance for and from the association. The heart of our success lies in our ability to plan our work intelligently, and as your new president and leader of a very committed and talented board, I will tell you we want to focus our work during the next year on MSA’s strategic future. The Museum Store Association has endured for more than 61 years and has set the standard worldwide as the professional organization for retail members who work in nonprofit institutions and vendor members whose products are offered in our stores. Although our success is interdependent, so are our challenges. As President Obama said in this year’s state of the union address, “We live in a time of extraordinary change—change that is reshaping the way we live, the way we work, our planet, and our place in the world.” These words could not be truer, as seen in the change our association and collective industry is experiencing and facing at this very moment. How we plan for and adapt to this change will determine MSA’s future course and role in our profession. In building a brighter future, the board and staff will work on five key areas that we’ve identified as our priorities for the coming year. First, we will start development of a new long-range strategic plan for MSA as the last plan was created six years ago and is now outdated. Second, we will work toward growing and diversifying our earned revenue sources and strive to improve the association’s financial picture. Third, we will expand our efforts to increase our membership and community, building on the grassroots campaigns started by our chapters on deepening MSA’s engagement with prospective, current, and relapsed members and institutions. Fourth on our list is to continue the work started last year on MSA’s fund-raising and friend-raising initiatives, such as the MSA Annual Fund—any donation is greatly appreciated and easily done at museumstoreassociation.org/donate. As a 501(c)3 nonprofit organization, MSA should seek philanthropic support to support its mission of advancing the nonprofit retail industry and the success of the professionals engaged in it. Last but not least is work needed to review and align MSA’s governance processes to ensure our authority and accountability is in line with best practices. By thinking anew and outside the box, we will make a changing environment work for us to extend the museum store experience outward to more members and more customers so that we are fully integrated into our institutions and integral to our communities. And because we will embrace change and use it to our advantage, our hope is that MSA will emerge stronger and better than before. On behalf of the MSA board of directors, we look forward to working with each and every one of you in the coming year. Thank you for your continued support and confidence as we move the Museum Store Association forward.
PRESIDENT Stuart Hata de Young and Legion of Honor/Fine Arts Museums of San Francisco San Francisco, CA FIRST VICE PRESIDENT Julie Steiner The Barnes Foundation Philadelphia, PA SECOND VICE PRESIDENT Ione Saroyan New York Historical Society Museum & Library New York, NY S E C R E TA R Y Raymond McKenzie Asian Art Museum San Francisco, CA TREASURER Alice McAuliffe The Walters Art Museum Baltimore, MD D I R E C T O R AT L A R G E Susan Tudor Cummer Museum of Art & Gardens Jacksonville, FL D I R E C T O R AT L A R G E Chris Michel The National World War II Museum New Orleans, LA VENDOR MEMBER ADVISOR David Graveen Popcorn Custom Products Glastonbury, CT VENDOR MEMBER ADVISOR Paul Stewart-Stand Stewart/Stand Carlsbad, CA
MSA Staff MEETINGS & CONFERENCE MANAGER Jennifer Anderson S Y S T E M S A D M I N I S T R AT O R Adriana Herald D ATA B A S E A D M I N I S T R AT O R Ayrin Herald
Stuart M. Hata MSA Board President 4
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why popcorn belongs to msa A vendor’s perspective BY DAVID GRAVEEN
I believe that MSA supports and furthers my company’s needs in the museum store marketplace. MSA is good for my business...
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believe in the mission and in the agile leadership of this organization, and I believe that MSA supports and furthers my company’s needs in the museum store marketplace. MSA is good for my business, and I believe it is good for yours if you are willing to “Lean In.”
Fifteen years ago, our company, Popcorn, manufactured a single product: Open Stock Mini Movie Posters. Classic film posters represented 100% of our revenue at a time when Popcorn had seemingly little to offer museum stores. But maybe we did… At that time, our hometown museum, the Wadsworth Atheneum, had a film program and an interest in movie posters to support their popular film series. A business-changing relationship began as the Wadsworth’s retail director began to use Popcorn for exhibition-related posters and a range of standard museum products that included magnets and greeting cards. Bruna Martinuzzi writes an online newsletter for MindTools (https://www.mindtools.com/pages/article/newLDR_49.htm) and uses a well-known Chinese proverb to describe agile leadership: “The wise adapt themselves to circumstances, as water molds itself to the pitcher. The willingness to get out of one’s comfort zone, and learn continuously as a way of adapting to changed surroundings, marks a key difference between successful and unsuccessful leaders.”
National Building Museum’s Michael Higdon with Popcorn puppets.
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In the fall of 2014, I was asked to join the Museum Store Association board of directors as a vendor advisor for a two-year term beginning at the Hartford Conference & Expo. Vendor advisors are a recent addition to the MSA leadership, and our role is growing, evident by the addition of a second vendor board advisor. Chapters, too, have been encouraged to add vendor members to their leadership—a special shout out to the Mid-Atlantic chapter, the first regional chapter to embrace this change!
Photo by Christopher Chronowski
Movies, not museums, were our comfort zone. In 2008, video stores, music stores, and bookstores began to disappear, and we knew we had to change. We pursued museum work with intent, received guidance from many museum retail directors, and built a marketing plan around museums and MSA conference sponsorships. In 2015, at the Hartford conference, we sponsored the conference ambassadors: 10-foot-tall monkey puppets made by local artist Ann Cubberly. This sponsorship formed lasting impressions and relationships because it demonstrated how Popcorn “Thinks Different” about our line of custom museum products and how Popcorn products “Engage” museum customers and enhance their experience. Our creative sponsorships and support of museum stores through MSA have helped build an effective case for choosing Popcorn.
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value to the MSA community. This multichannel approach to MSA will return quantifiable benefits over time.
Long-time and first-time vendor members will find their place in the MSA community by “Leaning In” and participating at the local, chapter, and national levels. Some of you are probably asking, “Aren’t my dues, my Expo exhibitor fees, and my MSA advertising dollars enough?” I believe the answer is no, and that is why I urge you to make use of MSA’s membership resources. Participate in ShopTalk, Facebook, and LinkedIn; attend networking events, present at chapter meetings, or write an article to spotlight your company’s
The MSA community of institutional members and vendor members are unified by intent, design, value, and most importantly revenue: Vendors need profit, and institutions need net income. We are all mission-driven revenue partners. There’s a less well-known Chinese proverb that goes something like this: “When you’re good, people notice, but when you have a 10-foot monkey puppet, people notice you more.” The museum store community can’t wait to see your 10-foot ideas in Pittsburgh!
of Popcorn Custom Products, a specialty design and private label manufacturing company located in Connecticut. He has over 25 years of product development and manufacturing experience.
MSA vendors should contact the vendor member advisors with questions or ideas about improving your engagement with the MSA community: David Graveen, MSA vendor member advisor 2015–2017, david@popcornposters.com Paul Stewart-Stand, MSA vendor member advisor 2016–2018, paul@stewartstand.com
David Graveen is the managing partner
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plan ahead Just as it is important to control inventory levels, the writing of a business plan is critical to managing all aspects of a store. BY ANDREW ANDONIADIS
...the preparation of a carefully crafted business plan raises awareness of the professionalism of the retail operation and helps secure a seat at the table...
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business plan is a formal statement of goals and plans for reaching those goals. It typically addresses the store from financial, product selection, operations, and marketing perspectives. In the past, 30 or more pages would be routine, but now the focus is more on using the process like a checklist to make certain all business benefits—actions that result in positive outcomes—of a store’s presence are addressed.
There is another benefit to creating a business plan that cannot be ignored in a nonprofit setting. As many of you have experienced, often the store is not regarded as highly as other departments within the institution. However, the preparation of a carefully crafted business plan raises awareness of the professionalism of the retail operation and helps to secure a seat at the table where input about, for example, store performance expectations or number of catalogs to be sold through the store, can be shared directly with the museum’s management. Potential business plan topics, contexts, and goals can/should include the following:
Clarity
A goal for the business plan is to bring clarity to the operation. By diving deeply into all aspects of the operation, nonessential items can be pruned to ensure the available resources, including personnel and financial, are focused on the most essential elements of the business. In general, these mental gymnastics are energizing and essential for idea quality and coherence. Every statement of “need” and “want” should include a description of the reasons why. For example, it is not sufficient to express a desire for new jewelry display cases without supporting the request by statements about the appeal of jewelry to women, if that is a core store constituency for you, as well as facts about the high margins and revenue per square foot generated by jewelry.
Tracking
The Numbers
I believe it is worthwhile to record everything so that there is something concrete against which to make comparisons. Recording data should include having income statements prepared on at least a quarterly basis. The plan can include the following benchmarks against which to measure actual results.
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The plan can be a touchstone to ensure the store is staying on track as it changes and grows. A business plan is a living document, and between “official” revisions, it can be used as a roadmap, the supple spine of the business. This can be done by periodically comparing the business plan revenue, expense, profit, and other projections to actual results and making adjustments to improve future results.
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• Revenue goals for the retail operation as a whole and/or by segment, such as brick-and-mortar, e-commerce, catalog, additional locations and/or even by product category. • Average transaction, units per transaction, cost of goods sold, capture rate, and gross margin return on investment, for example, according to your institution’s priorities. • Expected return on investment from several perspectives, including broad measures, such as social return on investment, and more targeted measures, such as marketing and staffing.
Market Analysis
• Three of the most important questions to be answered by a business plan are the following:
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• Who is the customer? I use “customer” in this context because the intention is to include not just the museum visitor, but also destination store customers, e-commerce buyers, and possibly wholesale and licensing customers. • What do your customers want to buy? • How much are your customers willing to spend?
Personnel
How many full- and part-time employees do you need to meet your goals? Job descriptions for each position should be addressed in this area as well as the balance between paid and volunteer personnel, the financial impact of benefits for paid staff, wage competition to hire and maintain quality staff, and the
increasing minimum wage. It is key, in particular, that the manager of the store has the responsibility and the authority to manage all aspects of the store, especially product selection (which when done by committee is a formula for an indistinct product selection and less than maximized financial results).
Accountability
Accountability is broader than just looking at the numbers. This section of the plan should include the following: • The mission statement: This is a statement separate from the institution’s mission statement. The vision/identity statement: • How do you define growth/progress for the store? How do you expect to get there? • The goal of product selection:
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How do you achieve breadth for visitors of all interests and economic ability?
Communications
LUDV KS
Include plans to connect—via signage and person-to-person contact—with everyone who comes in contact with your store, and plan for the store to be mentioned in every piece of literature produced by the museum. Your message needs to reach visitors, members, tourists, volunteers, the community, staff, the board, stakeholders, and museum administration.
Competition Analysis
To avoid losing the support of businesses in your community by competing unfairly—not to mention possibly raising unrelated business income tax issues—make sure your product selection is closely associated with the mission of your museum and exhibits. This does not mean that you won’t compete with commercial retail stores, but it does ensure that you will be doing so on firm ethical footing. Based on recent conversations and ShopTalk threads, MSA members are increasingly exploring the ways business plans can be used as a tool to confirm that all the day-to-day aspects of managing a store are addressed in a focused and coherent manner, and this list can ensure you are on the right track. Andrew Andoniadis is the principal at Andoniadis Retail Services, a consulting company that has specialized in profit-generating and function layout and design strategies for museum stores for 25 years. He can be reached at 503.629.9279, Andrew@MuseumStoreConsult.com or www.MuseumStoreConsult.com.
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rolling out the red carpet As you and your staff prepare for your busiest season, this is a perfect time to regenerate enthusiasm for creating an extraordinary visitor experience. BY DONNA CUTTING
The more empowered your team is to answer questions and share your museum’s story, the more helpful they can be to guests.
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n today’s market, service and sales go hand in hand, and customers have more choices and louder voices than ever before. Social media and websites, such as TripAdvisor.com, have shifted the power from company to consumer. Word of mouth has become, in essence, “World of Mouth” and can easily make or break an organization.
The good news is that when you roll out the red carpet for your customers, they run out and tell everyone they know. So how do you accomplish this? “We have two commandments at the Mary Rose Museum,” says Paul Griffiths, head of operations for the museum in Portsmouth, England. “The first is to treat every visitor like a VIP, and the second is to make every visitor feel special and create a unique experience for them. The reason for these mottos is twofold. We want to ensure every visitor has a fabulous time so they will go home and write a good review on TripAdvisor.com or recommend us to a friend. Secondly, we know if they have a great visit and are engaged in the story we are telling at the Mary Rose, they are likely to spend more in our shop!”
There are three areas of visitor experience to consider:
• The technical: How proficient are your staff and volunteers in their daily tasks? How knowledgeable are they about your products and services? How does your physical space contribute to a positive visitor experience? • The hospitality: How warm and caring are your staff and volunteers? Are they capable of making and trained to make red carpet first and last impressions? • The “wow” factor: How empowered are your team members to surprise and delight your guests?
Second, consider your building from the eyes of your customer. Are there improvements that can be made to the layout of the store to make it easier for guests to browse? Walk around your museum entrance and retail shop and take photos of key areas and signage. Put yourself in the shoes of your customer and ask, “Are these areas as welcoming as they could be? Is this set up for our convenience or the convenience of the customer?”
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On the technical side of things, start by keeping your staff and volunteers informed. The more empowered your team is to answer questions and share your museum’s story, the more helpful they can be to guests. Ensure that each person (even seasonal staff) is knowledgeable about the signature activities and unique experiences your museum offers. Provide them with the answers to frequently asked questions and make it easy for them to make a positive first and last impression.
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Next, offer small gestures that make a big impact. Griffiths says, “The best tip I picked up for shop staff is to offer a basket to all customers who pick up more than a couple of items. It provides an easier experience for the customer, and research shows that a customer who is not struggling to balance items will spend more.” When it comes to warmth and hospitality, first impressions are key. Greet each individual that comes into your retail store with a smile and kind words of welcome. Remember to address each person in the party. For example, Blue Anderson, museum store and visitor services manager for the Columbia River Maritime Museum in Astoria, Oregon, says, “Though we aren’t a children’s museum, we go out of our way to make
kids feel welcome and important even if they don’t have money with them. We’ll show them how to use a telescope and let them hold a Chinook basket so they can see the intricate weave. Sometimes it’s their very first purchase on their own. We treat them like we would any adult. It makes for a memorable museum store experience rather than one that is intimidating.” Empower your team to say “yes.” Says Anderson, “I’ve received numerous thank you cards, phone calls, and emails from happy visitors because my staff is so quick to resolve a query. They are empowered to take care of the situation rather than waiting for me to follow up. It cuts down on wait time, and my staff knows I’m going to say ‘yes’ anyway, so it makes everyone happy all around.”
The key is to create an atmosphere in which staff and volunteers know their primary job is to roll out the red carpet for guests. If an error in judgment is made, celebrate initiative and privately train on the correct response for next time. And remember, last impressions are as important as the first. Thank every visitor for coming and invite them to come back! This leads us to the “wow” factor. Train your team to listen for opportunities to surprise and delight your guests. Have unique treats and experiences prepared for when you hear that it’s someone’s birthday or they are celebrating an anniversary. The holidays especially are a great time to spontaneously pass
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Perhaps the most important tip in terms of creating an extraordinary customer experience for your guests is to ensure you are doing the same for your staff and volunteers. As Blue Anderson reminds us, “They can be our best walking advertisement!” Donna Cutting is the author of two books on red carpet customer service including her bestseller, “501 Ways to Roll Out the Red Carpet for Your Customers: Easy-to-Implement Ideas to Inspire Loyalty, Get New Customers, and Leave a Lasting Impression.” She’s a frequent keynote speaker, and the CEO of Red-Carpet Learning Systems, Inc. For more tips, visit her website at www. RedCarpetLearning.com.
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underperformance artists Five reasons why your employees might be failing to meet your standards, and what you can do about it. BY KATE ZABRISKIE
Nobody ever said managing people was easy. It’s not. It requires time, thoughtful planning, hard work, and moral courage...
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can’t believe we spend so much time on customer service training, and my staff still doesn’t consistently give great service. What a waste! We sent out a memo explaining the summer dress code. I thought it was pretty clear, but my employee showed up dressed for a night at the club.
He does the minimum, and that’s it. Why doesn’t he take more pride in his work and our institution, I’ll never know. Does any of the above sound familiar? On any given day, one can find store employees busy “working” but not actually doing the work expected or, worse yet, doing their work in ways that hurt morale, productivity, or the bottom line. Perhaps a few of those frustrating employees have a professional death wish—but most don’t. In all likelihood, they are as frustrated by their performance as you are. As manager, it’s up to you to identify and implement the fix. And for starters, you must come to terms with the five core reasons some members of your team aren’t performing to your standards.
Reason One: They Can’t If you expect people to do something they can’t do, don’t be surprised when they fail. For example, if your cashier is supposed to greet guests, answer the phone, fulfill ecommerce orders, stock shelves, clean the floors, and give tours all by herself, is there any wonder she can’t get it done? The Fix: Take a hard look at what you ask your team members to do. If some of them are not meeting your expectations, be sure that those expectations are realistic and reasonable. In reality, assigning tasks to people who, for whatever reason, can’t complete them to your standard means you’ve brought the situation on yourself. You have two options: Change the person you task or change the tasks.
All too often, people are thrown into a job with little or no training. They learn on the job, bring what they knew from their last job, or teach themselves. In other words, they wing it, and most of the time, it shows. If you are holding people accountable for performing tasks for which they’ve had no training, you’re going to frustrate the employees and hurt morale. The Fix: Train people on systems, processes, and desired behaviors, and do it often. Good organizations teach forward and learn from their mistakes. Spend some time thinking about what needs to be completed in a certain way. For example, say everyone
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Reason Two: They Don’t Know How
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is supposed to greet customers with “I hope you’re enjoying your visit. My name is _____. Let me know if you have any questions.” Then you’d better tell them, show them how to do it with a smile, and do it yourself whenever you are on the floor.
Reason Three: They Don’t Know They Are Not Doing It People are not telepathic. When you fail to make clear your expectations in terms of both quality and quantity of work or fail to correct substandard performance and praise good performance, you have no cause to complain. Setting clear expectations and providing regular feedback matters. The Fix: If an employee’s unsatisfactory performance is chronic in spite of training, managerial direction, and on-the-spot correction or praise, it is time to schedule a one-on-one meeting to review goals and expectations. Employees have to know where they stand. Failing to tell someone whose job performance is unsatisfactory is cruel, and failure to document the meeting is derelict. Your employees and your institution deserve better.
Rather, it means having standards and sticking to them. If you’ve talked to a volunteer about observing the dress code and the next day she shows up dressed on point, acknowledge the effort.
Reason Five: They Don’t Want To On rare occasions, you may encounter someone who is capable, trained, and operating in a learning environment but who still fails to meet expectations. The Fix: Document, document, document, and keep that poison apple away from the others in the barrel. There are times when people are simply not a good fit for a job. Be kind, firm, and quick to act.
age; in short, it requires leadership. That said, the payoffs can be huge for the employee, the institution, and you. Kate Zabriskie is the president of Business Training Works, Inc., a Marylandbased talent development firm. She and her team help businesses establish customer service strategies and train their people to live up to what’s promised. For more information, visit www.businesstrainingworks.com.
Nobody ever said managing people was easy. It’s not. It requires time, thoughtful planning, hard work, and moral cour-
Reason Four: They Don’t Think It’s Important Sometimes people know the rules, yet they ignore them because they don’t think they’re essential. How does this happen? It’s easier than you think. If managers don’t model desired behaviors, reward people for demonstrating those actions, and coach their team members to preclude deficiencies, they’re sending the wrong messages. Park in a spot reserved for museum visitors a couple of times, how long do you think it will take others in your purview to start doing the same thing? The Fix: Walk the talk. It’s as simple as that. Hold yourself accountable first and foremost. Next, recognize and reward what you want to see. This doesn’t mean becoming a patronizing zealot and thanking people for doing things such as getting dressed before coming to work. M U S E U M S TO R E Untitled-2 1
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value proposition Ensuring your staff knows they are appreciated can reap benefits in terms of attitude and behavior. BY LAURA MACLEOD, LMSW
The first step in fostering loyalty and strong relationships among your team is to show a genuine interest in and support for the things your workers value.
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nlike traditional retail environments, the people who make up a museum store staff are often drawn to their jobs by more than the desire for a paycheck. Personal values often play a role and may include a strong commitment to the institution, an interest in education, or a desire to meet those with similar interests. Professional aspirations may also factor in, as might the need for flexibility in scheduling. The first step in fostering loyalty and strong relationships among your team is to show a genuine interest in and support for the things your workers value. By getting creative and doing what you can to address worker values and desires, you show your appreciation, and in addition, you have an opportunity to connect with other departments in the museum. For example, foster communication with others in the institution—maybe the educational supervisor or outreach coordinator (for those wanting to learn and support), docents, or guides. Your employees feed their desire to learn, and this, in turn, will lead to a more knowledgeable and engaged sales staff In addition, do what you can to accommodate scheduling needs and offer to allow workers interested in management the opportunity to shadow and learn from you. All of this demonstrates your commitment to your employees. Not only are you willing to hear what they want and need, but you’ve done your best to make it happen.
Listening and Learning
Your employees may work in close quarters even with only a few people scheduled on each shift. This can be tough for even the best of friends. Workers need to be able to communicate effectively and support each other to ensure smooth sailing for the day.
Also notice and address frosty or problematic relationships among workers. State what you see: “Jane, it looks like you’re having a rough time working with Joe.” Get Joe invested, and help them work through it. Your ability to openly discuss differences is a great way to model clear communication and promote problem solving and conflict resolution.
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©istock.com/Zhenikeyev
One important thing to consider and address is who’s in charge. If you’re not on the premises, you’ll need to specify who makes decisions or handles difficult customers. This is crucial as a lack of leadership creates division among employees (“You’re not my boss; don’t tell me what to do”).
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Daily Check In
Before the shift starts, hold a brief meeting with your staff. Check in with each employee; how’s everyone doing? Alert workers to changes and specific instructions (inventory and supplies, special groups expected, and how to manage them). Elicit feedback and questions from workers, and make expectations clear. This welcomes and unites employees and ensures that everyone is on the same page.
Set Goals
If you have specific goals you want to achieve, you’ll need to get your staff on board. The key is to determine why they should invest in your goal. For example, you’d like to focus on selling the current calendar because it’s timesensitive. Explain the benefits of sell-
ing out: less cleanup and repackaging if calendars are sold, more space for new items (maybe items workers have suggested). Brainstorm with staff how best to accomplish the goal (discounts, creative marketing) and check back to monitor progress; how many sold, how many left, when we’re almost there! Workers will appreciate being part of the process rather than just being told, “Sell the calendar.”
Customer Service
Work with your staff to handle difficult customer issues. The fact is, the customer is not always right, and employees appreciate the support you offer when customers are rude or demanding. Be clear and specific on how to handle these situations and welcome workers to question and challenge
you. Play out the scenario, and work together to determine how best to satisfy the customer and keep the interaction respectful. Your employees are on the front lines, and they will need backup from time to time. Providing a strong support system goes a long way in fostering loyalty and trust. Laura MacLeod created “From The Inside Out Project®” based on two decades of experience as a union worker and with all levels of employment in mind to assist in maintaining a harmonious workplace. She is an adjunct professor in graduate studies at the Hunter College Silberman School of Social Work and speaks on conflict resolution, problem solving, and listening skills at conferences across the country.
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a brief history of nonprofit retail The museum store concept goes much further back in history than you might imagine. BY JAMIE LARKIN Museum shops are often understood at the margins of the museum experience. Although shops are important economic entities and offer visitors a desired activity with which to complete their visit, they are often considered secondary to the act of engaging with a site’s collections. But to view shops in such a way is to misunderstand something of their history and underlying purposes. If museums are places that exhibit the assembled fragments of civilization, then museum shops provide a way to translate such objects into a contemporary form through which we may better understand, recall, and associate with those collections, spaces, and experiences. Indeed, visitors have engaged in finding material ways of commemorating cultural experiences for a long time, and as such, the shop occupies a much more important role in the overarching museum experience than has previously been acknowledged. The lineage of cultural trading can be traced to the practice of medieval pilgrimage in Western Europe (around 1100–1400 AD). As pilgrims visited the shrines of saints, they sought to achieve a closer spiritual connection through material objects; this included collecting relics or chipping stone fragments from tombs—in some instances, people steeped these in water and consumed the resulting liquid. Recognizing the need for pilgrims to forge such links, items such as decorative badges were manufactured and sold at popular shrines. These badges could be blessed, and so assumed religious significance, and the visual reference to the shrine itself provided the wearer with a souvenir of his travels. The popularity of pilgrimage also resulted in the creation of the first guidebooks. These offered advice on traveling to and accommodation at centers such as Rome and Santiago de Compostela, and expanded to highlight cultural sites pilgrims could visit en route. Although pilgrimage was primarily a religious activity, the practices that come to inform museum visiting are clear.
Away from the city, the growing tourism to country houses prompted owners to produce portable guidebooks. As noted architectural historian John Harris has observed in his essay “English Country House Guides, 1740–1840,” such books “describe[d] features of house and garden in order of interest” and could be “purchased at the house, the porter’s lodge, a local bookseller or stationer, or at the village inn, for prices ranging from sixpence to five shillings.” By the early 1800s, these publications were
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©NYC & Company/Marley White
As popular appreciation of arts and culture emerged in the 1700s, visitors were eager to know more about what they were looking at, and this resulted in the production of catalogs. For example, what is generally considered the first contemporary art exhibition—held in London in 1760 by the Society of Arts—was accompanied by a basic catalog that noted the exhibited artists’ names and titles of their artworks. It sold 6,500 copies.
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more detailed, sophisticated, and widespread, becoming an important aspect of the museum visit that persists to the present day.
Middle and bottom: George Washington’s Mount Vernon; Rob Shelley, National Gallery of Art, Washington, DC
Beyond the written word, a number of museums in the 19th century exploited emerging technologies, enabling the public to purchase reproductions of their collections. From the 1830s, national museums, such as the British Museum and the Louvre, produced plaster cast replicas and photographs of their artworks. Although this was initially done to share knowledge with other museums, these institutions soon became aware of a public appetite for such items. The British Museum offered a range of plaster casts for purchase listed in the endpapers of its catalog, including selections of the Elgin Marbles. Meanwhile, the South Kensington Museum (the forerunner of the Victoria and Albert Museum) was directed by the government to produce photographs at subsidized prices as an important public education initiative. In 1859, the first year the museum began doing so, orders were taken for 13,455 photographs, and the museum built upon this popularity by selling sophisticated reproductions, such as electrotypes, of its own collections.
William L. Bird, Jr.’s Souvenir Nation explores the need guests have to take home a memento of their visit to museums and historic sites.
In the 1800s, the early days of George Washington’s Mount Vernon being open to tourists, the gardens suffered damage due to visitors taking mementos.
Toward the end of the 19th century, the demand for casts had declined, but the uses of photography continued to expand, resulting in the introduction of illustrated catalogs and culminating, by 1900, in perhaps the most ubiquitous of museum products, the postcard.
Only Half the Story
By the late 19th century, our understanding of the past was changing. In addition to museum collections, greater attention was paid to objects that explained national histories. In the United States, this was manifested at sites associated with the Founding Fathers, and in the U.K., castles and abbeys became the fo-
The shop at the National Gallery in Washington, DC, as it looks today. Visitors spent $100,000 a week here on items connected to the touring King Tut exhibition when it stopped at the museum in the 1970s.
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Even in today’s National Gallery store, reproductions of museum exhibits are popular items for sale, just as they were in European museums as early as the 1830s.
Outside of the formal confines of the museum, visitors reverted to crafting their own souvenirs. William L. Bird, Jr., curator at the Smithsonian, recently noted in his book Souvenir Nation how early tourists to Stonehenge chipped away fragments of the monuments, and visitors to George Washington’s Mount Vernon manufactured souvenirs from trees and vines from the estate. As it became clear that these practices were unsustainable, private enterprise exploited the opportunity to provide mementoes. Bird notes that in 1885 a private operator was selling “canes, hatchets, and gavels cut from estate wood, as well as charms made from the nuts of a coffee tree said to be planted by Lafayette” at Mount Vernon, and by 1900, a line of crested china was being merchandised at Stonehenge. As heritage sites came under the control of preservation bodies, private enterprise was removed from the vicinity of sites which, like museums, came to
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offer official catalogs alongside other souvenirs, such as postcards, which were sold from bespoke sales counters. The prominence of such educational materials in the first half of the 20th century was apparent in 1934 as New York’s Metropolitan Museum of Art held an exhibition comprised of British museum publications. Alongside these educational publications, museums were increasingly aware of the need to provide engaging products that reflected contemporary ways of consuming the past, particularly as such visits were becoming popular leisure activities. Early initiatives included retailing Christmas cards and calendars, and sites also experimented with commissioning their own commodities. For example, in 1937, Colonial Williamsburg entered into a licensing agreement with the Kittinger Company to make replicas of historical furniture in its collections, which were sold to visitors onsite. The crucial difference—compared with the private vendors of the 19th century—was that the cultural sites took active control over the commodities they
sold with the responsibility of ensuring accurate and appropriate representation of their collections. The rate at which institutions diversified their retailing varied. In the United States, museums realized the importance of engaging with consumer society, and the establishment of the Museum Store Association (MSA) in 1955 worked as a forum for practitioners to discuss issues surrounding retailing. Debra Singer Kovach has detailed this early expansion in her essay “Developing the Museum Experience: Retailing in American Museums 1945–91.” She notes, for example, that in the late 1950s the Boston Museum of Fine Arts, expanded its retailing operations from printed educational matter to “…art books, a wider selection of colour prints, calendars, greetings cards, reproduction jewellery and…books of matches decorated with images from the museum collections.” With such precedents, the support of the MSA, and growing consumerism in contemporary society, museum retailing increased exponentially in the United States.
Rob Shelley, National Gallery of Art, Washington, DC
cus of attention. In both instances, burgeoning tourism industries developed.
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By contrast, museums in the U.K. were more resistant to commercial pressures, deeming publications the most appropriate products for visitors. Other commercial approaches came from an unexpected place. Following the depredation of World War II, a number of owners of historic houses turned to tourism to revive their fortunes. These enterprising aristocrats monetized their heritage, opening their properties to the public and developing their trading operations. For example, Lord Montagu of Beaulieu expanded retailing at his country house from postcards and pencils to a range of more than 500 items, including china and leather products. In a similar manner, the Duke of Bedford, conscious of the aura still surrounding the aristocracy, occasionally helped out in the shop at Woburn Abbey, which would increase turnover by 50%. This injection of commercialism gradually accustomed the visiting public to such principles, laying the groundwork for their adoption by more traditional institutions. The trend began in the 1970s, yet the Group for Museum Publishing and Shop Management—the U.K. equivalent to the MSA—was only set
up in 1978, and consequently, the U.K. sector looked to the United States for expertise and guidance in this period. By the 1970s, museum retailing in the United States had become well established. However, a watershed moment, helping cement its position as a core part of the contemporary visitor experience, was the Tutankhamun exhibition (1976–1979). Generally considered the first “blockbuster” exhibition, the tour captured the public imagination, resulting in record visitor numbers. The public’s desire to engage with this exhibition prompted an expanded means of associating with it. As Meredith Hindley noted in a recent article about King Tut and the birth of blockbuster exhibitions in Humanities magazine (September/October 2015), during the show’s stay at the National Gallery, Visitors spent $100,000 a week (in 1976 dollars) on souvenirs. Exiting the show, they stepped into a store stocked with three hundred Tutthemed items developed by the Met. There were coloring books, posters, and postcards, along with a Tut tote bag. The Tut-inspired jewelry collection ran to one hundred
In 1934, the Metropolitan Museum of Art in New York held an exhibition of British museum publications, thus emphasizing the importance of souvenirs for sale during the fledgling years of nonprofit retailing.
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pieces. Hermès designed a limitededition scarf, while Limoges produced a porcelain plate adorned with a falcon. There was also a $1,500 reproduction of the goddess Selket. The exhibition signaled the growing opportunities for museum retailing and manifestly improved the infrastructure and marketing of such activities.
The Years Since
In the subsequent years, museum and nonprofit retailing has grown in scale and sophistication on both sides of the Atlantic. Shops offer nuanced ways of engaging with collections from the emergence of the museum brand to retailing foodstuffs, music, perfumes— all enabling visitors to link to the site in alternative ways in the context of their museum experience. Indeed, by providing such products, museum shops are moving from offering visitors passive ways of commemorating their visit to a means of creatively interpreting collections. Ultimately, visitors have a long history of finding ways of commemorating their experience at cultural sites, and the appetite to do this says something important about how we process culture. We may gaze upon artworks and artifacts and process them cognitively, but the shop enables us to appreciate sites in alternative ways. To desire a tangible memento of the visit, to associate with culture by wearing specific patterns or designs, to attempt to imaginatively engage with the past with traditional foods and drink—these are distinctly human desires and an important means of understanding and valuing culture. Jamie Larkin has recently completed a Ph.D. thesis at University College London, looking at the history, theory, and practice of museum and heritage trading.
©NYC & Company/Marley White
An Unlikely Source
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member story: meg hauser The National Museum of Toys and Miniatures may be small, but it’s big on customer experience. BY STEVE WHITE
Most store operators wouldn’t see cutting the footprint of their store in half as a positive thing, but for a store that deals primarily in 1/12th-scale items, the smaller store was the best way to increase profitability.
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hen Meg Hauser first signed on as the visitor service manager for the National Museum of Toys and Miniatures in Kansas City, one of her first jobs was to liquidate her inventory. “I joined the museum in the spring of 2013. The museum was closing for some repairs. In January of 2014, we closed,” says Hauser. So one of the first things on her agenda was to create a plan to both liquidate the store’s assets and to begin to plan for an entirely new store. While the museum was closed for a systems upgrade, it was an opportunity for Hauser and the rest of the team to rebrand the museum and find new ways to maximize the customer experience. “It allowed me to participate in a larger role,” she says. “I helped determine the new location of the store. We actually decreased the size of our store from 750 square feet to about 350 square feet.” Most store operators wouldn’t see cutting the footprint of their store in half as a positive thing, but for a store that deals primarily in 1/12th-scale items, the smaller store was the best way to increase profitability. “We have a lot of little things. For our shelves to look full, we had to carry an immense amount of inventory,” says Hauser. The new store’s smaller size had an immediate impact on the bottom line. Sales for the first six months of operation, after the rebranding, nearly matched sales from the entire previous year. The store occupies prime real estate in the museum’s open-concept lobby. The new visitor’s desk does double duty as both a ticket booth and as a cash wrap for the store. With the new design, every staff member is facing forward as a way to enhance the customer experience. “It helps the customers have a better engagement as they’re getting ready to start their visit,” says Hauser. “Our front line staff is our primary point of contact with our visitors.” When the store opened in August of 2015, its new mission was to enhance the overall experience for every patron. The museum’s small staff comprises eight full-time and three part-time positions, which also facilitates guest interaction. Each staffer is capable of leading tours, and they often do so. Hauser reports directly to the curator of interpretation, who oversees both visitor services and education and programming. “This is primarily because we find that the visitor experience and museum store should align with the educational and interpretive mission in order to provide a consistent and lasting impact,” she says.
The store is visible as soon as you enter the National Museum of Toys and Miniatures.
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“The store is the first place you see when you enter and the last place you visit
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sourced and American-made products. “It’s a huge trend in our industry— people want to know where things are made and where their funds are going … I do love to find vendors that are in the United States.” Bestsellers include the Slinky, the venerable Wooly Willy toy, and the museum’s own Highlights from the Collection of The National Museum of Toys and Miniatures that is also a topsy-turvy book. Because the majority of its merchandise is small, the remodeled—and smaller—store footprint has been a boon for sales.
when you exit,” she adds. “I try to curate the store as another gallery. We try to tell a story, so guests can see how the products interact and be able to relate them back to the gallery. It’s all harmonious and helps reinforce the memories of their museum visit.” Operating a museum store and acting as the visitor service manager seems like an unusual choice of careers for Hauser. She received a fine arts degree from the Kansas City Art Institute and then added 10 years of retail banking to her experience. She brings this broad range of skills to work with her every day at the museum. “I describe myself as a hostess, making sure that everything is to satisfaction,” she says. “We’re in the business of creating experiences. That’s what’s going to drive visitation and return visits.”
sales fall in the $10–$25 range. For her, the key to building a successful product lineup is to maintain the look and feel of the items that populate the galleries in the museum. At the same time, she’s aware of the movement for locally
For Hauser, it’s all part of creating a story the people will enjoy and remember for a long time. “Our store allows people to take something home so they can share their experience.” Steve White is a freelance writer and business owner who lives in Denver. You can contact Steve at steve@worspy.org.
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She describes the museum’s demographics as primarily multigenerational. The museum and the store are places where families can interact. Every age group can enjoy seeing toys from their own generation as well as sharing experiences from other generations. Hauser works hard to meet the needs of her store’s clientele, searching for just the right items to add to her product lineup. She uses catalogs, visits shows, and takes advantage of the Museum Store Association’s ShopTalk to find the best items. She estimates her average
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vendor story: lapis lazuli jewelry distributors A Holocaust survivor and her family inspire hope and renewal for the sophisticated museum shopper. BY KIMBERLY FIELD
Hope promises rebirth. Living with hope is a choice. It was the inspiring choice survivors made each day.
m
useums are thought-provoking, inspiring, educational, and joyful places, and many museum-goers want to take home a meaningful souvenir or gift to extend their museum experience.
“Museum retail managers know that their customers are looking for unique items, either for themselves or to give as gifts,” says Jaime Kanarek-Kornfeld, founder of Lapis Lazuli Jewelry Distributors, Inc. “We wanted to make beautiful things that visitors will find personally renewing and inspiring.” Kanarek-Kornfeld and his wife, fine artist and graphic designer Diane Wasserman, create commemorative designs in textiles and accessories, many marketed primarily through museum stores.
Beauty and Hope in the Face of Pain Kanarek-Kornfeld’s mother, Holocaust survivor Hanka Kornfeld-Marder, found powerful inspiration and purpose in her own experiences for her paintings, which are now used in the company’s products. Taken from her home in Poland at age 13, she spent nearly four years in several Nazi concentration camps. After the war, Ms. KornfeldMarder settled in Santiago, Chile, where she raised a family, developed and managed a jewelry business, and studied painting. Her artworks brim with feelings and emotions that both capture and touch the heart, establishing a special link between her past, present, and her hopes for a better future for humanity. Her work has been exhibited around the world and at the United Nations in New York City. Hanka Kornfeld-Marder’s evocative painting inspired the Leaves of Rebirth Collection for the HankaLane line of jewelry, textiles, and accessories. Leaves in warm autumn colors cover a silk scarf along with cross-body bags, totes, and water bottle carriers. The leaves illustrate a painful time when the Nazis in the concentration camp fed the prisoners a soup of boiled leaves. Although the soup provided negligible sustenance for the prisoners, the vibrant colors and beautifully rendered leaves represent a coming out of the darkness of the Holocaust into the hope of a better world. The scarf is marked with a reminder to remember—both in English and the Hebrew word for remember, Zachor.
The centerpiece of the Leaves of Rebirth collection is a scarf that includes both the English and Hebrew words for “Remember.”
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HankaLane’s Holocaust Remembrance Collection also features a motif that is packed with symbolism. The earrings, pendants, and pins combine images that simply do not belong together; a leaf tucked into a strand of barbed wire, topped with a dove. “The stem represents the railroad track that took my mother to the concentration camp. The barbed wire symbolizes the camp, the leaves are reminiscent of rebirth after liberation, and the dove is for the hope of a peaceful world,” Kanarek-Kornfeld explains. The artwork is delicately executed; it is only upon close examination that
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you discern the juxtaposition of the elements. The explanation opens the door to understanding and appreciation for the resilience of survivors.
The design of the Poppy Flower Remembrance Collection can be seen on a variety of accessories, including this pretty tote.
“My mother wants people to see that each day is a gift of hope,” Kanarek-Kornfeld says. “After the war, the survivors of the concentration camps decided to rebuild their lives with hope—the hope of having a family, of living in peace, hope for a world with no more discrimination and a world that is good for everyone. That is her message.” The leaves also represent the renewal that comes with a new season. Hope promises rebirth. Living with hope is a choice. It was the inspiring choice survivors made each day.
Subtle, Powerful, and Stylish The spirit of hope, appreciation, and © P Gloriæ Dei Artes Foundation, Inc. / www.gdcchoir.org / Distributed by Paraclete Recordings, Brewster, MA 02631 / 1-800-451-5006 / www.paracleterecordings.com The Flemish School 12. Ave Maria Clemens 13 . Jubilate Deo Rore 14 . Improperium Lassus 15 . Peccavi Super numerum Wert
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PA R A C L E T E P R E S S The Spanish School 20. Duo seraphim 21. Ecce sic benedicetur 22. O Domine Jesu Christe 23. Ego sum panis vivus 24. O vos omnes 25. Rorate caeli
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PREFACE
human beings; it is a sponall people. Yet, beyond ayer that is conscious and taught. There is an “art of ecome creative responses of nd likeness of their Creator e imagination.
plores these essential interok. Explaining that images hing them how to turn to s of fine art throughout the es in detail how prayer can ed imagination—a way of
Renaissance
Chapter One
At hRT & PRAYER e b e au t y o f t u r n i n g to g o d
s
1
PRAYER, LIFE, ART
Chapter Two
57
SPACES OF PRAYER
Chapter Three
105
LITURGICAL PRAYER
ChapterGFour I O VA N N I P I E R L U I G I THE PRAYER OF PLEADING 147
DA PA L E S T R I N A
Chapter Five
185
LECTIO DIVINA
MASTERS OF T H E R EPRAYER N A I S S225 ANCE CONTEMPLATIVE Chapter Six
Chapter Seven
Music of the Renaissance IN THE HOUR OF DEATH
263
NOTES
299
"A generous survey of luscious Renaissance choral music. . . sacred illumination is their mission, and they achieve it with spiritual sincerity and power."
INDEX OF ILLUSTRATIONS 305 —American Record Guide
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renewal additionally resonate in Wasserman’s designs. Her Poppy Flower Remembrance Collection honors all service members who gave their lives with large, vibrant red blooms that exuberantly burst from a royal blue background. The elegant design is desirable, and the poppies, with their timeless association with the sacrifices of war, evoke an appreciation of those whose service exacted the ultimate price. The Poppy Flower Remembrance scarf was honored by the Museum Store Association in the 2016 Buyer’s Choice Awards. “Museum retailers want chic, stylish products,” Wasserman says. “That’s my goal in designing artistic, fine collections that are both beautiful and meaningful to wear.” The pieces offer the high quality museum shop customers demand in a variety of products at a range of affordable price points.”
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GIOVANNI PIERLUIGI DA PALESTRINA
t h e b e au t y o f t u r n i n g to g o d
1.–6. Missa “Descendit Angelus Domini” 7. Super Flumina Babylonis 8. Ad Te Levavi Oculus Meos 9. Miserere Nostri, Domine 10. Sicut Cervus 11. Sitivit Anima Mea 12.–17. Missa Beatæ Mariæ Virginis II 18. Jubilate Deo TOTAL TIME: 74:27
A RT & PRAYER
MASTERS OF THE RENAISSANCE
Byrd Byrd Morley Philips
s
The English School 26. O magnum mysterium 27. Terra tremuit 28. Laboravi in gemitu 29. Tibi laus TOTAL TIME: 79:32
Timothy Verdon
The Italian School 1. Exsultate justi Viadana 2. Mirabile mysterium Vinci 3. Adoramus te, Christe Nanino 4. Voce mea Porta 5. Requiem aeternam Anerio 6.-11. Missa super Bella Amfitrit’ altera Lassus
VERDON ART HISTORY
The repeating pattern on the Holocaust Remembrance collection tie includes a leaf, barbed wire, and a dove, representing both the internment camps and a hope for the future.
Music of the
Renaissance
1-800-451-5006
The latest line is Climate Change, conceived by Wasserman. The design was introduced on a scarf at the 2016 MSA Retail Conference and Expo and was so popular that Wasserman added accessories. “The environment is top of mind right now,” Wasserman says. “I wanted to create this design because it is meaningful to me, and I felt it would be meaningful to others.” The 100% silk scarf has a luxurious feel and drape. Its rich color palette and graphic illustration doesn’t scream any political statement. Rather, Wasserman wants to give wearers the opportunity to engage others: “I’m not trying to change minds; people either believe in climate change or they don’t. I am happy if my designs inspire conversation.” Kimberly Field is a Colorado writer with a long history of visiting and working in museums.
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BUYER’S GUIDE Solmate Socks ‘Tis the season to be jolly! Beaming with good will and cheer, the Mistletoe Socks embrace the bold red and green colors of the season and are perfect for keeping Jack Frost from nipping at your toes. Solmate Socks (802) 765-4177
socklady.com See ad on page 8
Holiday Gifts “Consumers like unique, and in a world of digital shopping where almost anything can be purchased online or on a mobile device, creating a unique experience with unique products will be critical for stores.”
EVERY YEAR around this time, the temperature heats up, the sun shines brightly, and collectively, retailers’ thoughts turn to one thing: the holidays. Our summers are the time when we plan merchandise for the end-of-year gift-giving season because that’s the way to ensure our shelves are properly stocked. Rena Tobey of Artventures Games advises finding a balance between reasonably priced items that don’t sacrifice design and quality. And Lori Lieske of Solmate Socks says planning is everything. “If you can forecast your holiday season and then create multiple orders that have staggered delivery dates,” Lieske says, “this will relieve stress on yourself and ensure that you have the proper quantity and assortment within your store, keeping it full and fresh looking throughout the busy season.” Having a proper assortment gives you the freedom to be inventive with your displays. Kelly Jones of Wraptillion says creative ideas will win the day. “Think about how you could make your customers’ lives easier at this hectic time of year,” she says. “What about a ‘Something for Everyone’ event with displays of perfect gifts for each age or interest? Or a ‘Find Something She Loves’ display for men who have to buy gifts?” On the subject of displays, Lieske agrees: “Consumers like unique, and in a world of digital shopping where almost anything can be purchased online or on a mobile device, creating a unique experience with unique products will be critical for stores.” “The holiday season can be a great time to try new merchandise, especially higherpriced pieces,” says Jones, who also recommends stocking up on accessories and statement jewelry—after all, this is also party season. “Statement earrings are hot,” she says, “and they give a perfect holiday pop to a classic outfit.” Of course, what’s most important is staying true to your mission. “Just walking into a museum store is an experience, a key part of the museum visit itself,” says Tobey. “I always feel like I’m going to find just that thing that will remind me of the museum and that I’m going to see unique things not available anywhere else.” This is accomplished by developing a keen buyer’s eye. “Museum stores are a treasure trove of unusual and artistic gifts—not just posters and mugs,” Beverly Johnson, CEO of Fractiles, Inc., says. “Museum stores carry unique and inspiring items that you won’t find in big box retail stores. These creatively stocked shops are worth a visit in their own right!” Jones suggests finding time to remind your customers that you are available to help them find the perfect gift for anyone on your list (and remind out-of-town folks on your contact list that you can ship to them). “People want to give unique, inspiring gifts that aren’t available just anywhere,” she says. “And people associate museum stores with wonderful experiences, unlike crowded, hectic malls. Who doesn’t want a little more joy and wonder during their holiday shopping?”
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HOLIDAY GIFTS
BUYER’S CHOICE AWARD
2016 WINNER
Batucada USA Thank you to the MSA buyer community for this recognition. Bring your customers the gift of Batucada this season with a diverse collection of eco-art jewelry. Our signature materials offer a unique experience in accessories, and these lightweight jewels-on-the-skin have become a sensation in the giftgiving category. Please call or email Katerina Quinterno for details: Katerina@BatucadaUSA.com. Batucada USA (973) 668-0981
BatucadaUSA.com See ad on page 11
Popcorn Custom Products
The Tea Can Company The Tea Can Company offers unique souvenirs that leave a lasting message. Our pyramid sachets contain premium loose tea blended in the USA—each brews 2–3 cups or one small pot of tea. Choose from our many decadent flavors. Our specialty products can be packaged in template or custom designs for your museum or exhibit. Naturally delicious! The Tea Can Company theteacancompany.com (215) 766-2748 See ad on page 39
Popcorn Custom Products (860) 610-0000
popcornposters.com/custom See ad on page 5
Paraclete Press Renowned art historian Verdon explores how art can teach us to pray in this stunningly beautiful, richly illustrated book. A perfect gift for anyone who loves sacred art. “Throughout he demonstrates not only mastery of his topics but also a love of great art and deep faith. The result is a visual and verbal feast for contemplation and study.”—Publishers Weekly
Evocateur Inspired by faraway places and ancient times…by magical gardens and walks by the sea. Let us spin your story in 22K gold leaf. Modern heirlooms to be cherished. Each piece, a work of art, is truly one-ofa kind. Made by hand in the USA. Evocateur (203) 820-8786
Hartford-based Popcorn Custom Products offers custom glass ornaments made in the USA. Low 24-piece minimums with free design services and no setup fees. Available in two shapes: oval glass ornament (pictured) measures 3” × 3.75” and round glass ornament measures 3” × 3.75”. Ornaments arrive packaged with a matching ribbon. The perfect holiday museum keepsake.
Paraclete Press (800) 451-5006
paracletepress.com See ad on page 34
EvocateurStyle.com See ad on page 46
WaechtersbachUSA Did you know you can bake a single-serve cake in the microwave in just two minutes? Whipping up dessert is quick, easy, and fun with the Mug Bakery set from WaechtersbachUSA. Each of these four porcelain mugs is decorated with a recipe for making your very own mug cake. WaechtersbachUSA waechtersbachusa.com (800) 821-9872 See ad on page 11
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HOLIDAY GIFTS
Design Master Associates View your custom, full-color image on Design Master Associates’ unique, two-sided, faux miniature snow globe ornament! Beautifully ornate, gold-finished brass surrounds a glass dome on each side, giving the illusion that the ornament is an actual snow globe. Completed with a white satin ribbon for hanging, the ornament includes a hangtag with your custom logo and sitespecific information. Design Master Associates (800) 322-7583
designmasters.com See ad on page 7
An authentic, historic line that celebrates chocolate’s role in the lives of Americans in the 1700s. All natural, with no preservatives, American Heritage® Chocolate is mildly spicy and slightly sweet, containing 63% Cacao. American Heritage® Chocolate is made by Mars Chocolate North America.
Fiorentina Ciak Smartbook™—our most intelligent CIAK yet! All-in-one notebook with lined, numbered pages, index sheets, perpetual monthly planner, contact list, and a two-ribbon bookmark is bound into the pages. The cover is a flexible, textured, recycled leather with a contrasting colored Ciak-patented elastic closure. Features table of contents, 224 numbered pages (112 sheets), undated calendar, soft white lined pages, available in 5” × 7” and 6” × 8”, available in five colors—yellow, orange, blue, red, lime green, 100% handcrafted in Italy. Fiorentina (631) 423-1224
American Heritage® Chocolate
American Heritage® Chocolate americanheritagechocolate.com (800) 800-7046 See ad on page 48
fiorentinaltd.com See ad on page 23
Elaine Coyne Galleries Wine has been an important part of my family’s heritage. From my father’s involvement in wine tasting seminars as well as, writing a wine column in the 1970s for the Beverage Retailer. Currently my niece is the proud owner of Aratas Wine in Napa Valley. Elaine Coyne Galleries ecg.com (770) 424-0403 See ad on page 18
Fractiles Fractiles magnetic tiling toy is a unique art and design toy for ages 6 to 106. In the classroom, on the road, or at the kitchen table, award-winning Fractiles is a relaxing group or solo activity. Use these wonderful little tiles to create an endless variety of beautiful patterns and designs. Includes brightly colored precision-cut magnetic tiles, a sturdy steel activity board, and record album style folder package. Made in the USA. Fractiles (303) 541-0930
fractiles.com See ad on page 19
Kamibashi Handmade and fair trade String Dolls by Kamibashi make the perfect gift for all ages. The dolls come with a name and positive message written on a fabric tag, making them fun for the whole family. In addition to our science, history, sea life, & art and culture characters, 12 new dog breeds have joined the 200+ member String Doll Gang. Kamibashi (828) 683-7994
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kamibashi.com See ad on page 27
MUSEUM STORE
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Discover SaraChana Designs’ Elegant Mineral Stone Jewelry
Alucik Wearable art by Venezuelan light artist Claudia Bueno. Designs are developed through a series of watercolors and drawings inspired by a lifetime of international exploration. Claudia refers to Alucik as “concept jewelry,” each limited-edition design reflecting her artistic vision in a unique blend of nature and culture. Made outside Joshua Tree National Park, California. Alucik (213) 448-4467
alucik.com See ad on page 35
See us at the 2017 Conference and Expo in Pittsburgh
Designed and made by the artist in her NY state studio. sarachanadesigns@aol.com sarachanadesigns.com (716) 440-6901
SaraChana d e s i g n s
Clear Solutions The remarkable displaying power of clear acrylic coupled with the warmth and charm of wood make Clear Solutions floor spinner without rival. Our American-made spinner is the perfect setting for up to 48 designs and still utilizes a small footprint. Variable pocket sizes make this spinner a great choice for your display needs. Clear Solutions (800) 257-4550
cleardisplays.com See ad on page 46 M U S E U M S TO R E
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HOLIDAY GIFTS
Egyptian Museum Thank you for considering Egyptian Museum as your vendor for Fine Egyptian Glass Collectibles. All of our glass collectibles are individually handcrafted by Egyptian glass artists. The artist takes the glass through a series of steps including mouth blowing the glass, engraving a design, adding 24-karat gold trim, painting, and finally baking in the color. The end result is a truly elegant and timeless treasure to cherish. Made with German Pyrex glass. Egyptian Museum (732) 564-0830
egyptianmuseum44.com See ad on page 15
Ties.com Alynn Neckwear has hundreds of fresh and creative designs that are perfect for gift shops, museums, aquariums, schools, zoos, and more. See the complete collection at alynn.com. Free tie cubes on your first order when you mention this ad! Ask for a free catalog. Ties.com alynn.com (800) 252-5966 See ad on page 12
Artventures Artventures!™ Game is your party game on the adventures of art and art history. Made in the USA. MSRP $12.95. 16 games/case; case cost $104 plus UPS ground shipping. Strong impulse purchase and appeal as a stocking stuffer. Includes 80 cards with reproductions of masterpieces, a b/w gameboard for the players to color, and directions. No other art-related game brings in the hot hobby of adult coloring. Strategy-free, interactive, and requires no art history knowledge or artmaking experience. Lively Mind, LLC (917) 692-2829
artventuresgame.com See ad on page 11
Galison/Mudpuppy
Lucuma Designs Make it a fair trade Christmas with these adorable ornaments. Natural and hard to break, they’re perfect for decor and gifts. These mini ornaments are available in a variety of traditional holiday designs that are hand carved then shaded with fire by our talented Peruvian artists. Spread some cheer with this great assortment sold in sets of 20. Lucuma Designs (877) 858-2862
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lucuma.com See ad on page 18
Frank Lloyd Wright is recognized worldwide as one of the greatest architects of the 20th century. His work heralded a new thinking in architecture, using innovation in design and engineering made possible by newly developed technology and materials. His creative ability extended far beyond the border of architecture to graphic design, furniture design, art glass, textiles, and decorative elements for the home. Our Frank Lloyd Wright Constructibles is a 3-D building set with endless ways to build and 25 interlocking pieces in five shapes (Mudpuppy, $13.99). Galison/Mudpuppy 1-800-759-0190
galison.com See ad on page 9
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Wraptillion
The Big Ball of Whacks is an exciting brainteaser puzzle—a terrific holiday gift for all brainiacs and geniuses. Thirty-six magnetic design pieces with three different shapes fit together with 192 rare earth magnets. Its complex structure opens up puzzle challenges and many new creative options to design your own shapes. Includes a 96-page guidebook. Also available as Multi-colored Big Ball.
Wraptillion modern industrial jewelry shows your edge and fits your life. Designer/maker Kelly Jones links stainless steel hardware that’s used in automotive transmissions, airplane hydraulics, motorcycle hubs, and more together with titanium, using traditional chainmaille techniques. She makes each piece in her studio near Seattle, Washington. See the bronze and blue colors of the new Heat Patina collection on our website.
Creative Whack Company (877) 423-7984
Wraptillion wraptilllion.com info@wraptillion.com See ad on page 21
HOLIDAY GIFTS
Creative Whack Company
Historical Folk Toys The new Black Rag Doll Kit from the Charlotte, NC, company, Historical Folk Toys, includes all fabric, yarn, needle, thread, stuffing, and instructions needed to make this adorable 11-inch doll. Designed by Julie C. Harris, it is similar to the Rag Doll Kit that has been a bestseller for the past 10 years!
CreativeWhack.com
Historical Folk Toys (800) 871-1984
historicalfolktoys.com See ad on page 14
BB Magazine AD third Page AD.pdf 1 2/22/2016 3:06:00 PM
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ScreenCraft Jewelry Cabochon glass jewelry customized to celebrate your museum, your location, or a special exhibition. Our collection features beautiful glass bracelets, pendants, earrings, cuff links, and more. Jewelry is carded for easy merchandising and makes a great gift year round. Handcrafted in the USA. ScreenCraft Jewelry ScreenCraftJewelry.com (401) 427-2815 See ad on page 27
CMY
K
a bridge to anywhere wholesale - 720-599-3298
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ALL TYPES OF BOOKS
FOR ALL TYPES OF MUSEUMS ART
CRAFT
Bodies of Work: Contemporary Figurative Painting 9780764349829 $49.99 | HC
Rooted: Creating a Sense of Place, Contemporary Studio Furniture 9780764349485 $34.99 | HC
HISTORY
POP CULTURE
Fighting for Uncle Sam: Buffalo Soldiers in the Frontier Army 9780764350795 $39.99 | HC
The Good, the Tough & the Deadly: Action Movies & Stars 1960s–Present 9780764349959 $45.00 | HC
STEM & HISTORY FOR CHILDREN
The Future Architect’s Handbook 9780764346767 $16.99 | PB
SCHIFFER
PUBLISHING
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The President and Me: George Washington and the Magic Hat 9780764351105 $12.99 | PB
DESIGN
Objects of Desire: A Showcase of Modern Erotic Products and the Creative Minds Behind Them 9780764351044 $34.99 | HC
MUSIC
Unstrung Heroes: Fifty Guitar Greats You Should Know 9780764350887 $34.99 | HC
NATURE
Inside a Bald Eagle’s Nest 9780764344640 $24.99 | HC
4880 LOWER VALLEY ROAD | ATGLEN, PA 19310 PHONE: (610) 593-1777 | FAX: (610) 593-2002
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ART HISTORY
EMERGING FROM THE SHADOWS A Survey of Women Artists Working in California, 1860-1960, Volumes I–IV Maurine St. Gaudens • More than 2,000 images tracing the 100-year history of 320 women artists in California • Artworks from the mid-nineteenth to the mid-twentieth century, plus rare photographs • Many newly discovered works of art by women with ties to many regions outside of California
American Fine Art Magazine “It’s not often that you get a publication so broad in reach, so inclusive and so immaculately researched that it can change an art market for good.” The Philadelphia Inquirer “...the lack of female art at modern-day exhibits on the West Coast, inspired [Maurine St. Gauden’s] encyclopedias. She wanted to show the long history of excellence in female-made art, and prove that women could paint more than just ‘still lifes, children, puppies, kittens, and ducklings, and a random landscape.’”
9780764348617 $59.99 | HC
9780764348624 $59.99 | HC
Maine Antique Digest “This publication is to be celebrated, as it celebrates women artists who worked in California and brings them out of the shadows and puts them together in one place for easy discovery and research.” ARLISNA.org “Very well priced for the quality of the intellectual content and presentation of visual information. This title is essential for all academic libraries and public libraries with strong collections in art, women’s history, and history of the western United States.”
9780764348860
9780764348877
$59.99 | HC
$59.99 | HC
w w w. s c h i f f e r b o o k s . c o m
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DONOR STORY:
KRISTEN DANIELS AND KAMIBASHI
MSA says “Thank you” to a supporter and valued vendor member
K
Mark Your Mark Your Calendar! Mark Your Calendar! Calendar! PITTSBURGH, PA
PITTSBURGH, April 21-24, 2017PA PITTSBURGH, PA April 21-24, 2017 Make this exciting and educational weekend an annual tradition!
April 21-24, 2017
Make this exciting and educational weekend an annual tradition! Make this exciting and educational weekend an annual tradition!
risten Daniels and her husband Chris started Kamibashi in the spring of 2005. Originally a greeting card company featuring work by Asian artists, the company soon expanded to also sell string dolls that are handmade in Thailand. Kristen says they were please to get a positive response from museum buyers at their first National Stationery Show. “The first person to buy our string dolls at the NSS was Marie from the American Folk Art Museum in New York City, and a few minutes later, we got an order from Sophie, the buyer at the Museum of Fine Arts in Boston,” she says. “We were thrilled to find out that museum stores were interested in string dolls, and it made perfect sense since each one is a unique little piece of art. Over the years, we have created characters that work in every kind of museum store, including art, science, and history. It’s been a great market for us.” So why was it important for Kamibashi to donate to the MSA? “I’m a big proponent of small businesses helping each other out and learning from each other, and MSA gives store members and vendor members a platform to do that on many different levels,” she says. “The most important thing for me is that we all recognize that we are in this together, and we share the same goals. I am happy to donate to MSA so that all members can continue to help each other grow and thrive.”
Support the Museum Store Association at museumstoreassociation.org/donate “Giving back has always been an important part of Kamibashi, and so it’s important to support the people who support us. By donating to MSA, we are saying a big THANK YOU to all of the stores who have ordered from us over the years.” Kristen and Chris visit the Jimmy Carter Presidential Library during the MSA Conference in April.
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COMMUNITY UPDATES VENDOR STORY
updates from the MSA community
Cuddly plush Celestial Buddies with educational hang tags that provide vital statistics and fun facts about the celestial bodies they depict. These planetary pals delight and enlighten young and old alike.
Penny Bigmore of the Peabody Essex Museum in Salem, Massachussetts, retired in May after 27 years! Penny was an integral part of the museum shop team and led product development for the PEM. Angela Colasanti, President of Vielä Jewelry in Uwchland, Pennsylvania, and MidAtlantic Chapter vendor member, was awarded a Small Business Achievement Award from SCORE, a non-profit national Celestial Buddies.indd organization of business volunteers. Looking forward to enjoying his garden is recent retiree Henri-Pierre Corbacho, director of retail operations at Historic Hudson Valley in Sleepy Hollow, New York. Retail Operations Manager Mary Douthit has retired from the Crystal Bridges Museum of American Art in Bentonville, Arkansas. Diana Walpole has been appointed to take over the post. Patti Procopi, buyer and product development manager for the Jamestown-Yorktown Foundation in Williamsburg, Virginia, has retired.
celestialbuddies.com celestialbuddiesllc@gmail.com 1
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Celebrate the enduring beauty of our glass ornaments, at prices that guarantee a profitable holiday season.
Tel: 631-242-9664 | Fax: 631-586-1918 msornamentlady@gmail.com www.christinasworld.com
Julie Steiner is now the director of retail operations for The Barnes Foundation in Philadelphia, Pennsylvania. On behalf of MSA, we wish everyone the very best in these new endeavors! If you have a professional announcement— a job title change, retirement, you’ve been promoted, or you have moved to a new institution—send us an email: dbutler@museumstoreassociation.org. M U S E U M S TO R E
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AD INDEX Alucik.....................................................35 Alynn Neckwear..................................... 12 American Heritage Chocolate................48 Artventures Game................................. 11 Baskets of Cambodia.............................35 Batucada................................................ 11 Boeing.....................................................2 Boulding Blocks.....................................41 Celestial Buddies...................................45 Chewbeads............................................31 Christina’s World....................................45 Clear Solutions.......................................46 Cool Snow Globes.................................33 Design Masters Associates.....................7
Featuring Erté for Harper’s Bazaar 22K Gold Leaf Jewelry Handcrafted in USA www.EvocateurStyle.com | Info@EvocateurStyle.com | 203.820.8786
EDC Publishing...................................... 15 Egyptian Museum................................. 15 Elaine Coyne Galleries........................... 18 Evocateur...............................................46 Fiorentina...............................................23 Found Image Press................................44 Fractiles................................................. 19 Galison.....................................................9 Historical Folk Toys................................. 14 Kamibashi..............................................27 Live Your Dream Designs.......................45 Lucuma Designs.................................... 18 Ludviks Designs.................................... 14 Nina J. Design Studios..........................33 NY NOW................................................47 Paraclete Press......................................34 Popcorn Custom Products.......................5 Practical Strategies, Inc......................... 13 Red and White Kitchen Company.......... 13 SaraChana Designs................................39 Schiffer Publishing........................... 42–43 ScreenCraft............................................27 Socksmith.............................................. 19 Solmate Socks.........................................8 TAM Retail...............................................9 Tea Can Company..................................39 U.S. Games Systems............................. 17 Waechtersbach...................................... 11 Wraptillion..............................................21 Yarto.......................................................29
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