Voice
3126 W. Cary St., #447 | Richmond, Virginia 23221-3504 | 804. 358.3170 | www.vamuseums.org | Fall 2017
Museums, gardens, houses, and a zoo! VAM members abound in Norfolk! Plan a visit before or after our 50th Anniversary Conference. COME VISIT THEM ALL IN NORFOLK!
This Way to the Great Egress: Why Are People Leaving the Field? (A 50Forward Archive-with NEW Introduction) Perfecting Your Resume
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Member Voice: So Many Museums. Make Some Time!
Dear Members,
But in the midst of all this optimism for the future of our organization and of our museums, we also find ourselves faced with the horrifying events in Charlottesville and other southern cities struggling to deal with their Confederate history. While these events are certainly troubling and dangerous, they do point out how important history is today—and show us that museums have a critical role to play in society, perhaps now more than ever. We stand as institutions of learning and open conversation, of tackling the controversial issues and helping our communities find solutions that make sense for them. We are proud of how our members have already responded with statements and programs to begin addressing these divisive issues in constructive ways. If you haven’t visited already, take a look at our resources page “On Monuments and Memorials”.
As I write this, the VAM staff and board are knee deep in planning for our 50th anniversary in 2018. We are building some amazing programming, including an exciting revamp of our signature Top 10 Endangered Artifacts program, with monetary awards for top popular vote getters to help celebrate our anniversary. We will also have great articles from our past magazines combined with updated commentary (see the first of these in this issue); a conference with events and speakers to both commemorate where we’ve been and look ahead to where we’re going; and a fundraising campaign, “50 for 50”, to help us get there.
When the following article appeared in the Winter, 1997 issue of the VAM Voice, it demonstrated our Association’s commitment to serving the Commonwealth’s museum professionals even in— especially in—stressful times. Charles Bethea’s observations of a disturbing trend of museum workers leaving the field in significant numbers drew upon data from a variety of sources, including a telephone poll of personnel in Virginia museums. He cogently summarized the findings, and put them into context with what was happening in the field nationally. Much of what he wrote about the “Great Egress” remains as true today as it was in 1997. And yet . . . Since 1997, with the horror of the terrorist attacks of 9/11; the impact of still-active wars in Iraq and Afghanistan; the fear and dislocation of tourism caused by the DC snipers; and the Great Recession of 2008, and much more, Virginia’s museums have largely endured. To be sure, many budgets have become leaner, especially with greatly diminished state and federal government support. Private and corporate philanthropy, hit hard by the recession, has, to some extent, rebounded and become more broad-based and outcomes-driven. The massive growth in cellular communications and online platforms (particularly social media) has touched almost every aspect of museum operations--from educational programs to exhibits, facilities management to fundraising, marketing to merchandising. Throughout these evolutions, Virginia museums of all sizes have seen successes and failures. Some of the latter have been permanent, leading to retrenchment, consolidation with other institutions, or even outright extinction. Some of our largest and most venerable museums continue to make headlines as they cope with new,
I encourage all of our members to join us in planning for our 2018 celebration of 50 years of VAM, 50 years of having a unified voice for museums in Virginia. With all of us joined together, we can face whatever comes our way—whether we need to work with our audiences, with the press, or with the legislature, together we will be stronger. 50 years is a wonderful milestone, but it is only the beginning. What I am most excited about is how we face that beginning, and start our future.
Sincerely,
Jennifer Jennifer Thomas, Executive Director
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by Scott Harris, Director, The James Monroe Museum often harsh realities. For many staff members this means finding another line of work, voluntarily or involuntarily. And yet . . . Even as staff members leave the field today, often for some or all of the reasons cited in 1997, academic degree and certificate programs in museum studies, historic preservation, public history, etc., seem more popular than ever. [At my alma mater and employer, the University of Mary Washington, a museum studies minor introduced less than ten years ago is now the largest minor offered at the school.] Undergraduate degrees, once commonly the minimum necessary for entry-level employment consideration, are increasingly being superseded by master’s degrees. Thus, for every museum professional who leaves the field, there is a ready supply of highly-trained newcomers itching to fill the void. Several years ago, the U.S. Bureau of Labor Statistics made the following forecast for several categories of museum employment between 2014 and 2024: “Employment of archivists, curators, museum technicians, and conservators is projected to grow 7 percent from 2014 to 2024, about as fast as the average for all occupations. The need to store information in archives and public interest in science, art, and history, will continue to spur demand for archivists, curators, museum technicians, and conservators. Applicants should expect very strong competition for jobs.” No word about directors. Sigh . . . [For a recent personal reflection on this topic, see “It’s Brave to Quit the Museum Field: Part One.” Also visit this link for Bureau of Labor Statistics quote above, and related data.]
This Way to the Great Egress: Why Are People Leaving the Field? (Reprinted from the VAMVoice,Winter 1997) by Charles E. Bethea Over the past six months, the Virginia Association of Museums (VAM) has noticed a disturbing amount of professionals leaving the field. Observing such a distressing phenomenon motived VAM to research why so many people were exiting the profession. A telephone poll of thirty museum personnel revealed five major reasons why many professionals are contemplating new careers. The reasons included: enduring low wages; having too much education or experience for a position; assuming unexpected and additional responsibilities; dealing with stress; and lack of internal advancement. Enduring low wages was the most frequent cause cited as a major reason many people chose to leave the museum world. Over the past fifty years, the museum profession as a whole has seldom, if ever, been promoted as a high paying career—highbrow and elitist
perhaps, but never high paying. Thus, money or lack thereof, is a concern for many museum practitioners. A survey of similar jobs confirmed that the museum field pales in comparison to the corporate world as far as salaries are concerned. Based on poll responses and surveying AVISO (the American Association of Museums’ publication of museum jobs) and the Southeastern Museum Conference’s (SEMC) monthly job advertisement, mid-level museum jobs were compared to similar jobs in the corporate sector based on job description and qualifications. As exhibited by the jobs found in AVISO, the SEMC flyer, the Washington Post, The Richmond Times Dispatch, and other local papers, museum employees’ salaries tend to be lower. One may argue that comparing the museum profession to
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Cover Story
Director’s Corner
Introduction to “This way to the Great Egress: Why Are People Leaving the Field?”
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Similar position surveyed across the country in the for-profit sector revealed classified advertisements for jobs with comparable qualifications, responsibilities, and wages. For museums, salary differences between similar positions can be extreme. On average, an executive director of a mid-size museum or cultural organization has an annual income of 30K to 60K. In contrast, a similarly qualified business executive may earn 50K to 80K. The same can be found when comparing museum educators to secondary school teachers and college professors. Museum educators’ salaries are often lower despite the fact that many museum educators’ qualifications and job descriptions are similar to (or exceed) traditional academic educators. Supplemental comparisons of other disciplines in the field disclosed similar results. Unlike the corporate sector, positions in the museum field regardless of education and experience do not correspond to standard pay grades. This offers another explanation as to why professionals in the museum field who endure low wages, yet have advanced degrees are electing to leave. When asked about the requirements vs. the salary of their position, one of the participants polled replied, “I am over-worked and under paid and I have the degree to show it.” Appropriately, one would assume that salaries would become more equivalent to the for-profit sector with the possession of an advanced degree. Unfortunately, according to the survey of jobs, the amount of education is not in fact a prerequisite for comparable salaries. Ironically, as new accredited degree programs are surfacing across the country, more skilled labor is moving into the field, and competition for positions have increased tremendously. As a result, the level of requirements for jobs have also increased, and a growing number of mid-level museum positions are being advertised to the familiar tune of “the successful applicant will possess a M.A. (or higher) in museum studies, art administration or related field.” To complicate matters, like the corporate world, museums large and small find themselves downsizing and assigning multiple duties to fewer staff without being able to financially compensate them—a side-effect that also usually accompanies the corporate downsizing syndrome. Needless to say, anyone who has received a paycheck understands that after accepting a position, having unanticipated and additional responsibilities bestowed upon them is not welcomed but not uncommon. However, for museum personnel, this added responsibility is usually a result of downsizing, hiring freezes, or simply lack of funds to solicit additional support. Regardless of how a museum staffer comes to acquire additional duties, the deed brings forth a phrase that is widely used throughout the profession—“waring multiple hats.” As indicated earlier, the museum field is big business and therefore supply and demand must be maintained. As a result of staff undertaking multiple duties, many departments that were accustomed to several staff members developing and implementing exhibitions, fund-raisers, and programs for hundreds, now must uphold, and in some cases exceed, the present level of performance with less or no staff. According to poll results, this was enough for some people to leave the field. Considered alone, wearing a multitude of hats was no enough for some to contemplate departing the profession. However,
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when added responsibilities were accompanied by the high levels of stress, the thought of leaving moved to the forefront. The museum field, contrary to popular belief amongst the for-profit sector, is a highly stressful environment. Many employees who maneuver through money and educational issues and additional responsibilities, have collided with the added stress of the profession. Every job has its allotted amount of stress i.e., meeting deadlines, working within budgets, and coping with difficult co-workers, and in this sense the museum field is no exception. However, in accordance with poll responses, life in the museum field feels like it does not stop with normal job stress. “Disasters both natural and human, losing volunteer help prior to a program, and acquiring new donors are among the causes of physical and emotional breakdowns among museum personnel,” comments one of the polled museum employees. Yet, most people who brave the museum world accept that the additional stress comes with the territory. However, according to several responses of those polled, the stress would be easier to handle if it were reenforced with emotional support from other colleagues. “Sometimes the work load becomes so overwhelming, I don’t know if I am coming or going, and my greatest fear is that I may forget something and that adds to the stress,” cites a participant from the poll, “particularly because in the back of my mind I am threatened with the knowledge of my work load increasing due to the on-going quest to attract new audiences and implement new porjects still without the increase of staff or funding... This is what we museum people face dialy...Therefore, emotional support becomes crucial to your psyche, and often a pat on the back is all that it takes to get you motivated again.” Verbal recognition for a job well done is a tremendous boost for many employees. However, for those staff members who are focused on advancing to higher positions of responsibility within their institituion, verbal recognition may be the only thing forthcoming. Thus the last major reason many are contemplating leaving the field is lack of internal advancement. When comparing the museum field to the corporate workd, one can often find numerous success storis in the corporate sector, such as the mail clerk or intern becoming the CEO of the company after years of hard work. Although the museum field’s management structure is similar to that of the corporate world’s, advancement from one department to another within a museum occurs infrequently. In many cases, for a person to scale the “museum ladder,” it usually required relocation to a new intitiution--an option many can not pursue. Certainly the issues raised here affect the profession as a whole and before too long may become major concerns for the industry. Nevertheless, the facts presented here were intended as neither a wake-cup call to the “powers that be” nor a call-to-arms for the disgruntled staff. What is to be inferred is that none of us are totally alone in our concerns or situations. It is without malice to say that the museum owrld, like its corporate counterpart, has flaws. Notwithstanding, the museum field is, and always will be, an interesting, challenging, and demanding profession to follow. Acquiring that special donor, preserving artifacts, developing and installing a crowd-pleasing exhibition, or witnessing hundreds of families participate in your hands-on program, is a feeling of elation not easily duplicated in any other profession. In the end, those who choose to leave the profession tend not to stray far from the field, demonstrated by the rapid growth of independent museum consulting firms around the country.
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Perfecting Your Resume by Jennifer Thomas
Whether you are writing a resume for the first time, or have been drafting and tweaking a resume for 25 years, there are steps you can take to make it the best it can be for landing that perfect job. The first thing to know is that there is no ONE right way to write a resume and there are endless resources available online and in print. I am simply providing some tips in the context of your museum career. My biggest caveat whenever I review someone’s resume is—take what I’m giving you, try it, play with it, and see if it works for you. It might, it might not—in the end, your resume has to reflect YOU, and if you can’t be comfortable with a format, or a suggested change, then you can’t confidently sell yourself using that resume—so ignore that piece of advice and move on.
Whether in bullets or paragraph form, this tells us nothing about you—everything mentioned is subjective, and more like what you would find checking a reference than anything provable.
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Proven ability to advocate at the Virginia General Assembly and on Capitol Hill
A resume is an ad for YOU
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Fifteen years of experience building relationships with local, regional, and national organizations
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Twelve years of experience developing and implementing professional training and providing networking opportunities for members of a state level nonprofit association
Most of you have likely had a resume for many years. You’ve used it for applying for jobs, or, if you’ve been in the same place for a while, you may pull it out for grant applications every once in a while. But this bears repeating, whether you are new to resumes or have just lost touch with this idea over time: your resume is your sales pitch. You have a short period of time to get your message across to the reader—like a billboard on a highway, or an ad on TV. It needs to show you at your best, and it needs to stick with the reader. So it isn’t enough to create an ad and put it out there. You need to stand out, make an impact, to get that all important interview. Whatever changes you make to your resume, make sure that they add the impression you want. Resumes are all about Language Bullet points won’t make or break your resume, nor will type of format. You need to focus your energy on the words you use, the way you describe what you can do and have done, or you won’t get past the piles on the hiring manager’s desk. So let’s start with some of the sections of your resume that can be most affected by the language you use. Summary of Qualifications Adding a summary statement at the top of your resume makes it the first thing people see; that makes language incredibly important here—and makes it worth your while to spend some time on this section. There are two ways to do a summary statement. One is a narrative paragraph, the other is a bulleted list. Which version is better, and why? As with most things resume, there is no one right answer, but there are some WRONG answers—don’t create a summary statement like this one: Dedicated and accomplished candidate with a solid academic background, and excellent communication and organizational skills. Expertise includes ability to get along with a wide range of people, solve problems and conflicts; very strong work ethic and very responsible and dependable.
Here are a couple of examples: SUMMARY Twenty-five years experience in developing, implementing, and evaluating outcomes-based programs for museums, theatres, and schools. Expertise includes advancing professional skills and collaborative learing; building relationships and communities of practice; fostering creativity and innovation; and positively impacting individual, institutional, and field-wide growth and change.
Language is also key in the main section of your resume, your work experience. Most resumes use a bulleting style to make it easy to read each piece of information. But make sure that each bullet is important, and adds to the strength of your resume. Are you editing keywords in your bullets for each use of your resume? You should! Keep track of how your resume uses specific words from the job posting you are applying for. You also want to make sure you focus, whenever possible, on IMPACT—what impact have you had in your positions? Did you increase your organization’s budget? Say so, and record how much of an increase. Did you get grant money? How much? From what agencies? Did you mentor or supervise staff? How many? Is a Hybrid right for you? No matter how well they are written, most resumes are still created in a chronological format, with all work experience listed in order newest to oldest, tied directly to each position you have held. Some people who have been in the field a long time might try exploring the idea of a functional format for their resume. In this type, all accomplishments and duties are listed under categories like “operations management” and “program development,” and your actual positions are listed at the end of the resume in a simple list (if you haven’t seen a functional resume, there are a lot of examples online). This format is not very familiar to hiring managers in the museum field, so it may not be the best bet—you might stand out too much. I do recommend, though, taking the time to recreate your resume into a functional format for your own use—it can really help you clarify your strengths and weaknesses, and show you what you should focus on in terms of professional development to round out your skill set.
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Technical Insert
the for-profit sector is like comparing apples to oranges; however, that perception is not true. The museum field is “Big Business.” Just as basic principles of supply and demand influence the for-profit sector, so do they effect the museum field.
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Think about this while you’re writing a hybrid: What are your specific skills areas that you might identify in your resume? Make a note, and try to rearrange things to fit those skills. A hybrid example: PROFESSIONAL EXPERIENCE 2001-Present WESTIN ST. FRANCIS HOTEL, San Francisco CA Assistant Banquet Manager (2006-Present) Oversaw all logistical and staffing arrangements for thousands of functions and meetings for a premier San Francisco hotel with 35,000 sq. ft. of function space and catering sales of $10 million annually. EVENT PRODUCTION •
Collaborated closely with catering and convention service sales staff to design personalized floor plans, decor, logistics, and staffing for small and large events. • Coordinated logistics between departments involved in presenting functions (including kitchen, beverage, and service staff ). • Received feedback from satisfied clients for consistent and thorough attention to detail and delivery of complex functions. • Organized over 25 off-premise caterings for functions at corporate sites and public venues including: -City Hall -Davies Hall -Nordstrom -De Young Museum -Fort Mason -Aircraft carriers for Fleet Week ADMINISTRATION • •
Consistently met labor cost goals through proper scheduling. Perpared capital improvement budget and researched $5-25,000 in cost effective purchases annually to maintain high-quality equipment and props. • Designed, purchased, and maintained linens, porop, and accessories for dozens of decorative theme parties such as safari, fiesta, garden, underwater, and San Francisco scenes. PERSONNEL MANAGEMENT • • •
Adapted and implemented guest-focused programs to elicit useful policy input from line staff, resulting in improved performance nad productivitiy. Hired, evealuated, disciplined, and supervised over 100 employees in accordance with labor laws and three union contracts. Arranged and supervised mentoring relationships to train two dozen captains.
resume. They aren’t the meat, but without them, the meat is pretty uninteresting! But, as with every other section, you can do too much, or not use the best language, and end up hurting yourself more than you’re helping yourself. Some examples of these sections include Publications, Presentations, Community Leadership/ Engagement, and Awards/ Recognition. In my opinion, a community leadership section is the most important of these; it shows your network of peers, and your level of influence within the community—who you interact with, how you work with people outside your job. In any of these sections, the most important thing is to be relevant, and concise, and remember the entire purpose is to add to your sales pitch. What have you accomplished in these areas that dovetails well with the job posting you are applying for? Think about what a potential employer would be proud to see in one of their staff—membership in a national organization? Or presenting regularly at a state level organization? It may be different for each job. Once you are out of the school environment, remove any awards you received as a student—it isn’t important for a hiring manager to know that you won the English department prize for essay writing. Under community leadership, don’t list organizations that you are no longer in contact with—if you ran your alumni society 10 years ago, but aren’t even a member anymore, it is no longer a relevant piece of information for a resume. What do you eliminate? Most resume experts suggest that your resume not be longer than 2 to 3 pages; 2 pages for younger professionals, 3 for more experienced job seekers. But as anyone who has been in the field for 20 years knows, it is a terrible challenge to fit all of your important experience into 3 pages. So what can you eliminate to make this possible? The answer isn’t a simple one—it comes down to “curating” your accomplishments much more carefully. There shouldn’t be any bullet or item in your resume that is immune to change or removal for a specific job opening—you need to pay close attention to any job posting and cater to keywords and required qualifications. General Tips If you are new to the resume process, one thing I suggest is to spend time wordsmithing the elements you want in your master resume document. Then create a text file, or “backup.” Have both documents open when you are editing a resume for a specific job opening, and get used to moving elements back and forth between your master resume and your backup. That way, your wordsmithing stays intact, and you don’t always have to recreate great bullet points, but you can remove them and move them around for each job. No matter how long you have been writing resumes, or even reading them to hire others, you need to have people in your corner who can help you polish your final product. Greg Stevens and Wendy Luke, in their book A Life in Museums: Managing Your Museum Career, suggest building yourself a career “posse”, a group of colleagues you trust; all of you can come together to help each other with editing and updating your resume. If you’re a member of VAM, let us be a part of that posse—all members can access free resume reviews to get advice. Conclusion
A Resume is a Balanced Meal Now let’s talk about the other sections of a resume—the ones you need, but that will be looked at a bit differently than the work experience—we’ll call these the “side dishes” of your
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I will end this insert the same way I opened it: resumes are very personal, and since they are in essence your sales pitch, you need to be comfortable with how you are presenting yourself. I hope you find some of my tips helpful, but if you try making a change and it doesn’t feel right for you, then don’t do it.
Hello there!
We are Your 50Forward VAM Team Heya! I’m MckenZie Walker, Membership Coordinator (5 months) When I am not at VAM I am: Giving tours at The Valentine museum My favorite kind of vacation: Swimming with elephants! My favorite media: Listening to podcasts of all kinds. My newest goal: Run the Anthem 8K in 45 minutes. Favorite family activity: Riding horses with my grandmother.
Hey! I’m Dana Metheny, Communications Coordinator (7 months) Where in the world I’d go: A custom tour in the footsteps of my novel’s characters. What I love to do: Play with my horses/dogs, volunteer, write my novel, learn new stuff. My favorite quote: Writing is perhaps the greatest of human inventions...A book is proof that humans are capable of working magic.—Carl Sagan I wish I could: Compose classical music, speak (and think in) Norwegian like a native If I didn’t have to work I’d be: Finishing my novel, writing and directing the movie!
Hello! I’m Christina Newton, Assistant Director What I love to do when I’m not at work: Gardening in the formal garden in our open backyard. I love my potting shed in our old attached garage! My hobbies or things I love to do: I love jazz and world music. My husband’s band offers me opportunities to satisfy my passionate pursuit of live music. My favorite kind of vacation: Lying on the beach. I’m reading: Sarah Vowell’s Unfamiliar Fishes, a history of Hawaii. My favorite quote: Think Globally, Act Locally.
Hello! I’m Jennifer Thomas, Executive Director (2000)
Meet & Greet
A hybrid resume is a great option for people who have been in the field a long time, particularly if you have been at one organization a long time; in that case, a long list of bullets gets very hard to wade through—a hybrid approach can help with that. It stays in the general context of a chronological resume, but the accomplishments related to each particular job are listed by categories or skills. These categories can be identified from key words and phrases from a particular job posting.
My favorite TV shows (at the moment): The Crown, Big Bang Theory, Madam Secretary, and Criminal Minds. Magazines I subscribe to: National Trust, The Week, Associations Now, and People. Favorite quote: Cueillez des aujourd’hui les roses de la vie.—Pierre Ronsard Where I would go if I had the time: The next trip on the bucket list is Quebec City. If I weren’t doing this I’d be: Running a sanctuary for abandoned dogs.
Su Thongpan, Accountant was not available to participate, but
sends her regards to VAM members!
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VAM is excited to announce the 2017-2018 Season of the Annual Workshop Series. From exhibit development and interpretation, to copyright laws and project management, the upcoming season offers first-time topics, necessary training, and new ways in which to look at traditional content. Check out the upcoming events and get ready to register on September 11th! Archaeology Front and Center
Tuesday, October 24 OR Wednesday, October 25 James Monroe's Highland, Charlottesville
Celebrate Archaeology Month in Virginia by learning about the latest archaeological discoveries happening around the Commonwealth. While such discoveries are exciting, they’re also “upending history” at historic sites like James Monroe’s Highland where research is ongoing and staff are challenged with developing new ways in which to tell the story of the home of our fifth president. From new interpretive tours to virtual reality experiences, discussion options and discover solutions to the ever-changing landscape of historic research and interpretation. Certificate credit: Education and Outreach OR External Relations
Creative Exhibit Development
Monday, December 4, 2017 The Candy Factory, Center for the Arts, Manassas
From concept development to the display of artifacts and works of art, exhibit planning involves a variety of components. Get insider tips on extending budgets, leveraging underutilized space, taking advantage of untapped resources, and developing helpful partnerships. You’ll literally leave thinking “outside the box” about your next exhibition. Certificate credit: Exhibitions
Reap the Whirlwind: A Holistic Approach to Museum Internships Monday, April 9, 2018 Nauticus/Hampton Roads Naval Museum/Battleship Wisconsin, Norfolk
Be an intern for a day in the Nauticus curator’s museum internship program and discover how this immersive program trains professionals for a career in the museum field. Experience the three distinct sites of the Nauticus Maritime Museum, Hampton Roads Naval Museum, and the Battleship Wisconsin ship museum and see them as the intern would by learning subject matter, how to interact with visitors, caring for artifacts, and communications skills.
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Participants will conclude with a discussion of how the “fresh-eyed” intern benefits (or not) from this approach and what other intern programs can offer. Certificate credit: Education and Outreach
Navigating Murky Waters: Copyright Law Basics & New Developments Monday, April 23, 2018 Hampton History Museum, Hampton
Laura Heymann, Professor of Law at William & Mary Law School, will provide an overview of U.S. copyright law basics as well as highlight recent developments and current issues of particular interest to the museum field, including orphan works, fair use, contributory infringement, and online dissemination of materials. The discussion will be followed by a moderated panel of museum professionals who work with these issues daily and will provide advice on navigating these complicated issues.
Certificate credit: Internal Affairs OR Collections Care
Managing People and Projects in the Museum Field Monday, May 14, 2018 Virginia Historical Society, Richmond
We’re excited to offer our first workshop on project management, featuring Martha Morris, Associate Professor of Museum Studies at George Washington University and author of the new book, Managing People and Projects in Museums: Strategies that Work. With over 35 years in the museum field, including serving as Deputy Director of the Smithsonian Institute’s National Museum of American History, Morris will guide us to a greater understanding of strategic planning, project management, teambuilding, and leadership issues in museum management. Certificate credit: Internal Affairs
More workshops are being confirmed. Watch for an email update on more opportunities to participate in professional development programs from VAM!
So Many Museums. Make Some Time! by Dana Metheny
Soon, many of you VAMmers will be heading to Norfolk for our big 50th Anniversary Conference. We will see, hear, and learn in great venues and engage in some really exciting activities around town. But Norfolk has so much to offer in the world of museums that VAM encourages you to extend your visit before or after so you can experience more of their rich offerings while you are in the city. You’ll see what shines in each exhibit. Here’s a little background behind Norfolk’s excellent museums and institutions.
The Women Behind the Founding of the Chrysler Museum of Art Open Tuesday through Saturday 10 a.m. – 5 p.m., and Sunday 12 to 5 p.m. General admission and parking is free. Mission: The Chrysler Museum exists to enrich and transform lives. We bring art and people together through experiences that delight, inform, and inspire.
Every VAM member has its own intriguing story behind its doors. This one is off the charts! The story behind this museum is unexpected, captivating, and ennobling. It begins with a simple educational goal shared by two women and through dedication and a clear vision, grew far beyond its founders’ dreams. The story goes all the way back to 1871 when Irene Kirke Leache and Anna Cogswell Wood came to Norfolk with the goal of opening a school for girls. They called their school the Leache-Wood Seminary. A couple of months after it opened, smallpox closed it down temporarily, then, after several moves around the city, the school found it’s home at 138 Granby Street. This building eventually became the women’s residence after a donor added a 30-room addition to the building. The school continued to advance its mission and became a gathering place for cultural activities and discussions. The Seminary operated for two decades, continually bringing cultural enrichment to its students and to Norfolk. It is here where the story recounts a fateful turn. In 1891, Irene Leache’s health started to decline. She and Anna left the country and traveled in Europe for 9 years. Another dedicated woman, Agnes Douglas West, purchased the seminary in 1898. She sold the original Seminary building and in 1900 secured 5 lots on present-day Fairfax Avenue to build a larger school for Leache-Wood students. It operated at 407 Fairfax Avenue until its closing in 1917. In 1890, shortly after Irene and Anna returned to America, Irene died. To honor Irene’s memory, Anna Wood spent the rest of her life devoted to her friend’s lifelong love of the arts. First, she established the Irene Leache Library to hold a growing collection of art for a future museum. Anna herself returned to Europe to purchase art and sent it back to the Library in Norfolk. She also commissioned a marble bust of Leache from Italian sculptor Luigi Guglielmi and sent it to Norfolk as well. With the art collection growing, she needed a bigger space. She found one in the basement of the Norfolk Public Library’s new “Carnegie” branch on Freemason Street. (That gallery became the first “Irene K. Leache Memorial Room,” and was the starting point that grew and developed into the Chrysler Museum of Art.) Anna Wood returned to Norfolk in 1914 and continued her efforts with a fervor. She increased the size of the Irene Leache Library board to include board members of the Leache-Wood Alumnae Association, (which she
established in 1903) and renamed it The Irene Leache Art Association. She also started the Irene Leache Lecture Series. In 1917, Wood changed the name of the Irene Leache Art Association to the Norfolk Society of the Arts (NSA). The NSA’s purpose was to “stimulate and further the interest in art in Norfolk and to establish an art museum.” She also changed the name of the Irene Leache Library to the Irene Leache Memorial (ILM). That organization is still operating today. As a result of the NSA’s efforts, the city of Norfolk donated land in “Leigh’s Park,” for an art museum. And here, as World War I delayed the building of the museum, is another fascinating turn in the story of the Chrysler Museum of Art—and one that connects it to another VAM member museum in Norfolk. It was Florence Stone, who with her husband William, built what is now called Hermitage Museum and Gardens on the banks of the Lafayette River, offered to display the ILM’s art collection in a building she owned and renamed The Norfolk Arts Building. The ILM’s collection remained there until 1928 when Sloane sold the building. The NSA then started to raise funds for a building to house the collection. With the fundraising assistance from the Sloanes through the stock market crash of 1929 and during the Great Depression, the new Norfolk Museum of Arts and Sciences (NMAS) opened its doors on March 5, 1933. Florence Sloane continued to support the museum by serving as its director for 10 years. She never took a salary for her work. In 1939, the ILM’s art collection moved into its permanent home, the Irene Leache Memorial Room of the Norfolk Museum of Arts and Sciences (NMAS). The collection remained on loan there for the next 75 years. The last turn in the story took place in 1971. Walter Chrysler, Jr., the son of the car company founder, moved his expanding art collection from Massachusetts to Norfolk. At that time, the city of Norfolk committed its support and the Norfolk Museum of Arts and Sciences became the Chrysler Museum of Art. Finally, the Irene Leache Memorial collection had a permanent home. The ILM gave the Chrysler Museum of Art full ownership of its 27 medieval and Renaissance artworks. This is one very happy ending that we can all enjoy every time we walk through the Chrysler’s doors.
Beauty and Scope at the Hermitage Museum & Gardens Open Tuesday through Sunday 10 a.m. – 5 p.m. House Tours at 11 a.m. and 2 p.m. General Admission: Adults–$15; Members, Military, Students & Children (5-12)–$12; Children under 5 Free Mission: The Hermitage Museum and Gardens preserves the distinct beauty of its natural environment; conserves and shares its multi-cultural collection; promotes and educates to inspire an appreciation for art and nature; and cultivates a spirit of stewardship while paying tribute to its rich legacy.
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Member Voice
VAM’s 2017-2018 Workshop Series
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Every VAM member has its own brand of beauty and charm. This one is an impressive eye-opener! Textile and banking magnate William Sloane and his wife, Florence came to Hampton Roads from New York in 1893 and built the “Hermitage” House in 1908 on the banks of the Lafayette River in Norfolk. The house began as an Arts and Crafts style five-room summer home but it wasn’t long for the Sloanes to adopt it as their principal residence. Over the years, it was reoriented and expanded to forty-two rooms. In 1937, the Sloanes established the Hermitage Foundation, a non-stock, non-profit corporation and contributed everything on the property to it. William died in 1940 and Florence opened the property to the public in 1943. She continued her residence at the Hermitage until she died in 1953. The house was home to her youngest son until the early 1970s. Today, the Sloane’s broad and expertly curated art collection spans 5,000 years. The collection Isn’t the only awe-inspiring facet of what this cultural center offers to the public. Visitors will also discover contemporary galleries, a visual arts studio, and 12 acres with gorgeous semi-formal gardens, forest and wetlands. A wide variety of plants and birds thrive here in their natural habitat with the river surrounding the grounds on three sides. Florence Stone cultivated a sophisticated and artistic landscape design throughout the property. The gardens and the courtyard entrance to the house showcase 105 millstones between them. Flowering plants, shrubs, and trees compliment the many benches, cobblestone paths, bronze sculptures, and stonework terraces. Along with the exhibits inside the house, the grounds may also serve as a natural backdrop to artistic installations on a grand scale. The Hermitage is a Smithsonian Affiliate, exhibiting collections and programs from the Smithsonian. By featuring these special exhibitions, the Hermitage helps spread public knowledge and understanding of science, history, world culture, and the arts.
Virginia Zoological Park: Smiles for the Whole Family
Open daily from 10 a.m. to 5 p.m. (except on major winter holidays) General Admission: Adults–$14.95, Seniors (62+)–$12.95, Children (2-11) –$11.95 Mission: The Virginia Zoological Park is committed to saving and protecting the world’s wildlife by inspiring a passion for nature and taking conservation action at home and around the world.
Every VAM member has its “character.” This one has more than 500 characters, all eager to strut their stuff just for you! The history of the Virginia Zoo goes back to 1900-1901 when Lafayette Park brought in the first 200 mammals, birds, and reptiles for the new zoo, but even before that, the city purchased the land for the park in 1892. The zoo expanded its animal collection over many decades and in 1974 it was separated from the public park area by a fence. It was in 1979 that The Friends of the Zoo was started as a non-stock corporation to advise in the zoo’s development. It was renamed the Virginia Zoological Park at Norfolk (The Virginia Zoo) in 1985 and became accredited by the American Zoo and Aquarium Association (AZA) two years later. It was the arrival of two Siberian tiger cubs in 1992 that prompted fundraising for the first major new exhibit since the late 60s, and in 1999, for the zoo’s 100th anniversary, early African exhibits were opened. They were closely followed by the opening of large habitats where African animals could roam free. Lion cubs were
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born in the African exhibit in 2007. It is especially interesting to note that the ticket proceeds from Zoo Train, The Norfolk Southern Express, funded the new 2010 kangaroo exhibit!
Norfolk Botanical Garden Shares Abundant Winter Joy Open 9 a.m. to 7 p.m. Admission: Members–free, Adults–$12, Seniors–$10, Military–$10, Children & Youth (3–18) – $10, 2 & under–free Mission: To enrich life by promoting the enjoyment of plants and the environment through beautiful gardens and education programs.
Every VAM member preserves and cultivates the best in our world. This one fills your senses and helps you cultivate your sense of appreciation and love of nature. With the conference scheduled for March, VAMmers can still wander in extraordinary world of gardens here in the winter. Winter is a time to take note of individual details that stand out against the crispness of the season. Take time to enjoy branch structures, evergreen foliage, clean fragrances and even winter fruits. Some surprising flowers bloom in winter, too. There are several special areas that bring a winter joy to the heart: the Winter Garden, Champion Trees, Conifer Garden, Hofheimer Camellia Garden, Holly Garden and Turner Sculpture Garden, Sunken Garden, and Tropical Display House. In this special case, don’t wait until the conference. to visit. Come in September and bring your dog! The Garden is extending its summer Sunday Dog Days through September. Help them help the many animals affected by Hurricane Harvey in Texas. The Virginia Beach SPCA has representatives in Texas helping with rescue efforts. Explore the Garden with your dog & help other pets reunite with their owners. Your $5 FIDO Fee will go directly to the efforts helping the animals displaced.
MacArthur Memorial Perspectives on Leadership
So Many Museums, continued
It’s All in the Details at Hunter House Victorian Museum Wednesday-Saturday: 10 a.m.- 3:30 p.m.; Sunday: 12:30 p.m.- 3:30 p.m. General Admission: Adults–$5, Senior Citizens–$4, Children–$1
Membership Marketing in the Digital Age A Handbook for Museums and Libraries
Every VAM member has unique items of value that contribute to understanding. This one immerses visitors in an elegant, old-fashioned way of life and style!
by Patricia Rich, Dana S. Hines, and Rosie Siemer Reviewed by Dana Metheny
Abundantly beautiful period furnishings, unique pieces of art, and personal items of the Hunter family carry visitors back to an era that evokes comfort and elegant style like no other. It’s the details that matter when evoking the past and this late 19th Century house doesn’t disappoint. Architecturally, it combines Richardsonian Romanesque and Queen Anne styles. A walk through the house, inside and outside, reveals minute stylistic details around every corner. Doors and windows are their own works of art, especially. Inside, the mix of classical, medieval, renaissance, and 17th and 18th century European style can thrill with the textures and shapes and colors creating the unique look and feel of the period. Taking the time to really notice the details will be it’s own reward, hands-down a curious and intriguing world to behold.
Other Specialized VAM Member Instituitions in Norfolk Hampton Roads Naval Museum Open Tuesday - Saturday 10 a.m. to 5 p.m. Sunday hours are 12 to 5 p.m. Admission is free. The Hampton Roads Naval Museum is an accredited museum operated by the United States Navy that celebrates over 240 year history of the fleet in the Hampton Roads region of Virginia. We are located on the second floor of Nauticus in beautiful downtown Norfolk, Virginia.
Norfolk Southern Museum
Open Tuesday-Saturday 10 a.m. 5 p.m.; Sunday 11 a.m. - 5 p.m. Free admission
Monday - Friday, 10 a.m. to 4 p.m. Free and open to the public.
Mission: The General Douglas MacArthur Foundation was established in 1962, to commemorate the life and achievements of General Douglas MacArthur, particularly as they relate to his credo “Duty, Honor, Country” and its relevance to future generations of Americans.
Every VAM member has a special focus and perspective. This one strives to show the causes and outcomes of several wars in real historical context! Who was General of the Army Douglas MacArthur, a man historically known for leading others through some of the most dangerous challenges to our country and the world? Obviously, the importance of history and the perspective with which we see it is a crucial subject that brings more questions than answers. The context of war is complicated and emotional, but what better way to learn from the past than to study those who have gone before us? Continued on the next page
Book Review
Railroad enthusiasts will have a great time exploring the exhibits featuring company history and artifacts on display. One of the most popular is the 900-pound railroad coupler which is accessible for a close-up view. There is a locomotive simulator that visitors can actually sit in and work the throttle, brake, and horn, too! Other features include Civil War-era track and vintage hand tools.
Starting with the chapter entitled “The Meaning of Membership,” the authors of this comprehensive book guide the reader step-by-step through the sea of complexity of marketing effectively to members. By the end of this must-read book, the reader will have a clear idea of how to approach their own marketing, even if they weren’t previously familiar with digital marketing and the challenges it presents. The first 7 out of 14 chapters deal with defining marketing in all its aspects. The authors strive to explain a very broad subject in bitesized, easy to digest pieces. They address the evolution of member programs, the role of income, the appeal of membership in the first chapter. Planning is presented as a process made of defined steps, and yet directs that “good plans are flexible plans.” (p. 40.) Even aquisition and retention are covered along with what success looks like. The next 6 chapters dig deep into marketing platforms and issues to address along the way. Coverage starts with strategies that most museum professionals currently use, like direct mail and on-site sales, and even the website and email distribution, but quickly moves to social media, mobile marketing, online advertising and Google Grants. As marketing efforts must have successful returns in order to fulfill a museum’s mission, the authors include several kinds of benchmarking and explain the role of key performance indicators (KPI). The financial side of membership is covered well, including topics like budget, cash flow, cost per dollar raised, lifetime value of members, and tax issues. The last chapter, “What’s Next in Membership” takes a keen look forward in very unique ways. The discussions here bring up the continuation of traditional marketing methods, a look at the generations of audiences, automation in marketing, and predictive analytics. Loyalty programs are discussed, as is the idea of free memberships. Punctuating this book as a thorough guide that readers will keep as a valuable resource are the planning worksheets for membership stages, events, and recordkeeping, along with other informative resources. The charts, graphs, and illustrations all add to the educational approach this book so aptly takes. To sharpen the reader’s understanding of the details presented in the book, the authors have carefully chosen real membership case studies that feature results, including the math, and notes that give context and background information where needed. The glossary is a useful addition, too, for a book that delves into new and innovative concepts. In summary, Membership Marketing in the Digital Age is a solid and compelling guide that is well worth a read. The information inside is organized, clearly stated, and leaves the reader with a sense of “I can do that!”
Ohef Sholom Temple Archives contains over 2,500 written records, artifacts, manuscript collections, and audio and visual materials. The Archives is open on request. For more information, please call (757) 625-4295 or e-mail us at archives@ohefsholom.org.
SAVE THE DATES! The 2018 Annual Conference will be on March 10-13, 2018 at the new Hilton Norfolk Main along the waterfront in Norfolk, VA.
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Our Governing Council President, Gary Sandling VP, Planning & Resources, Gretchen Bulova VP, Member Engagement, Rob Orrison Secretary, Dana Puga Treasurer, Eric App Past President, Tracy Gillespie Ex-Officio Members, Matthew Gibson, Jeffrey Allison Directors Paige Backus Lisa Martin Steven Blashfield Jeffrey Nichols Jamie Bosket Robin von Seldeneck Mikell Brown, Ph.D. Scott Stroh Karen L. Daly Vanessa Thaxton-Ward, Ph.D. Charles Grant Sarah Whiting Joe Keiper, Ph.D. Charlotte Whitted Susan Leidy Eric S. Wilson Our Staff Executive Director, Jennifer Thomas Assistant Director, Christina Newton Communications Coordinator, Dana Metheny Membership Coordinator, MckenZie Walker Accountant, Su Thongpan Our Contacts Phone: 804. 358.3170 Fax: 804. 358.3174 www.vamuseums.org Our Voice VAM Voice is published three times a year for our members. The editor encourages readers to submit article proposals. Contact the communications coordinator for more information. Our News Deadlines Winter: December 1st Spring/Summer: May 1st Fall: August 1st Our Vision A united museum community inspiring the world around us. Our Mission The Virginia Association of Museums is a statewide network serving the museum community.
VAM needs your support to keep developing the programs and services that serve members so well. Thank you!
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Over the past six years, the Virginia Association of Museums has successfully promoted awareness of collections care and the efforts of institutions across the Commonwealth of Virginia and District of Columbia to care for their cultural and historical treasures through its popular Virginia’s Top 10 Endangered Artifacts. Over a 100 organizations have benefitted from participating in the program and have gained extensive publicity and funding to conserve and preserve their artifacts. VAM has been working tirelessly on making exciting changes to the Top 10 program for relaunch this fall in celebration of VAM’s 50th Anniversary.
Looking Forward to It!
Mark the calendar to see Water/Ways at these locations in Virginia. The Water|Ways tour in Virginia is co-sponsored by the Virginia Association of Museums and the Virginia Foundation for the Humanities. September 2, 2017 – October 15, 2017: Cape Charles Historical Society Cape Charles, VA October 21, 2017 – December 3, 2017: Frontier Culture Museum of Virginia Staunton, VA December 9, 2017 – January 21, 2018: Shenandoah Valley Discovery Museum Winchester, VA January 27, 2018 – March 11, 2018: Fredericksburg Area Museum and Cultural Center Fredericksburg, VA
Now is the time to start thinking of those items that can inspire the imagination, engage the public, and tell your organization’s story and that of Virginia. VAM is excited to share the news with its members first that, thanks to the generous support of the Mitchell-Rees Foundation, the 2018 program will offer awards to support conservation and preservation of selected artifacts in addition to its wellknown promotional opportunities. Through a thorough review process by an independent selection committee, ten artifacts will be chosen to participate in the Virginia’s Top 10 Endangered Artifacts program and will be eligible to receive awards in the amounts of $500 to $5,000 for conservation or preservation efforts that will be granted following January’s online voting competition or by the selection committee.
Program Updates
Virginia’s Top 10: The 50-Forward Edition
2018 is VAM’s 50th Anniversary! We want to celebrate with all of you by collecting and promoting short videos that you make to share your own personal Virginia Museum stories! Use #VaMuseumStory The sky’s the limit! What can you think of to share on social media? Compose your own personal storyline, for example:
Gather your team, dive into your • collections and archives, and start planning now about what your organi• zation is going to pick!
How did you get into the museum profession?
Nominations open November 1st!
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Complete details can be found online at www.vatop10artifacts.org.
What is your most memorable on-the-job experience?
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What was your first job in the museum field and how did it help you?
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As a museum professional, what does VAM mean to you?
Why does your museum/historic site matter?
Questions? Contact communications@vamuseums.org