Voice
3126 W. Cary St., #447 | Richmond, Virginia 23221-3504 | 804. 358.3170 | www.vamuseums.org | Spring 2014
Using Comparative History in the Museum Health Care: What’s Next? i Member Profile: George Washington’s Mount Vernon Photo courtesy of the Virginia Holocaust Museum
Using Comparative History i Using comparative history in exhibitions is an excellent way to highlight the relevance of a specific historical topic. For example, the Holocaust is a very extensive subject; however it has imperative lessons that must be conveyed. One way that we do that at the Virginia Holocaust Museum is by using comparative history in our exhibitions and tours.
dents what this reminds them of that happened in the United States. The answer being the infamous “Whites Only” signs from the civil rights era that kept African-Americans from sitting on certain benches, drinking from certain water fountains and entering certain stores. The docents then inform the group that these particular benches are the Main Street Station (now the Science
differences and similarities between the anti-Jewish policies and Jim Crow Laws. It also provides an opportunity for the students to relate the history of the Holocaust to an aspect of American History, which they are far more familiar with.
Cover Story
One of the disadvantages Holocaust museums have is the small amount of time that teachers are able to spend The Institute of Historical Research on the Holocaust in the classroom; at the University of London states: typically only one day is reserved for “The aim of comparative history is Holocaust education. One way we to achieve a better understanding combat that is by using comparaof historical institutions or ideas tive history to make connections to by seeing how they differ between topics that teachers spend more time societies or across time.” i The Virginia on. A student is far more likely to Holocaust Museum specifically uses remember a fact if they can associate comparative history to help make it to something they have already connections between two societies, learned. Therefore, by connecting the primarily Nazi Germany and the treatment of Jews in Nazi Germany to United States. the use of Jim Crow Laws in Virginia, Above: “Für Juden verboten!” signs were common it provides a take away for students In our exhibitions, we compare the in pre-WWII Germany. Below: Similar to the treat- taking a tour at the Virginia Holocaust differences and similarities between ment of African Americans in the Jim Crow Era, Museum. Jews were forbidden from using certain drinking Anti-Jewish legislation in pre-World fountains. War II Nazi Germany and the Jim The legality of what was occurring Crow Laws in 1950-1960’s United in both the United State and Nazi States. The main comparison is made Germany can be the topic of another in our first exhibition, known as discussion. People are sometimes “The Train Station.” It is well known quoted as saying that what the Nazis that the European Jewish populadid in Germany was a perversion tion were deported to their deaths of the law; unfortunately what was via train, however this station is a done was legal according to the representation of the main train letter of the law in Germany at that terminal in Berlin in the 1930’s, time. The Nazis legally changed the Friedrichstrasse. In the station are laws to benefit their cause; they did two benches and on top of them is a not bend or break them. This is much sign that reads, “Für Juden Verboten,” like in the United States where the which translated means, “For Jews discrimination of African Americans Forbidden.” There is another sign was, unfortunately, legal. with the same verbiage that we have hanging above our water fountains. Another opportunity that comparative These signs were everywhere in Museum of Virginia) in Richmond, history provides us is the chance to pre-war Germany and they forbade Virginia and they are from the same discuss what is currently going on in the Jewish population from doing time period as the civil rights movethe world: where other genocides are everything from sitting on certain ment. The benches that donned suspected of occurring, what the warnbenches to drinking from certain the infamous “Whites Only” signs ing signs of genocide are, and what water fountains to entering certain demonstrate how Jews in pre-War areas of the world are at risk of having stores. Germany were kept from being a genocide occur. At the Virginia Holopart of society. By doing this, and caust Museum, we are planning to use When a docent is giving a tour, they using comparative history, we are comparative history in this fashion in point out the sign and ask the stuable to open up dialogue about the our future and renovated exhibitions.
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in the Museum
by Charles A. Coulomb
teachers how to effectively present the Holocaust and Genocide to their students. Typically we have had sessions on using the Civil Rights Movement and Jim Crow Laws to highlight the Holocaust. Additionally, we have a section on Modern Genocide where our resident expert teaches about how Modern Genocides are different from the Holocaust and how to teach Modern Genocide to students. One of the key items taught is the disparity in immigrants permitted This bench is from the Main Street Station into the United States. Before and (now the Science Museum of Virginia) in Rich- during World War II, the United States mond, Virginia. It was used during the same realized that there would be an influx time period as the civil rights movement. The of peoples seeking asylum and in benches that donned the infamous “Whites Only” signs link America’s Jim Crow Era histo- response, the government tightened ry with that of pre-War Germany, when Jews its immigration policy and limited the number of individuals allowed to were kept from being a part of society. emigrate. From 1941-1952, 137,450 Jewish Refugees settled in the On our second floor, we currently United States.ii This is a small number have a globe that highlights the compared to the six million Europemajority of Modern Genocides from an Jews that perished. The current across the world. This temporary policy for asylum seekers from the exhibit is essentially a “place holdentire continent of Africa is limited to er” and in this space will eventually 15,500 people.iii Considering the size be a permanent gallery devoted to of Africa, the number of Genocides Modern Genocide and it’s correlathat have occurred and the several tion to the Holocaust. Unlike our areas of watch that are currently other permanent exhibitions, this concerns, we can safely say that will be an examination of Modern there is a huge difference between Genocides from the Armenian to the number of actual and potential Rwandan Genocides. The idea here refugees during the Holocaust and is to examine the differences in each during instances of genocide today. event, from warning signs to how By using comparisons such as this, the genocide was carried out. We can we are trying to give the teachers a then compare them to the Holocaust better understanding of the Holoand explain the differences and simcaust and Modern Genocide, so that ilarities. By doing this and using the they in turn will be able to teach this Holocaust as a frame of reference, critical information to their students. we can show that “Never Again” has gone by the wayside and more effort Comparative History is a wonderful must be put forth to end genocide. tool for exhibiting difficult subjects. By using it we are able to relate how In addition to using comparative Jews in pre-World War II Germany history in our exhibits and tours, we were being treated to how Afriuse it in our programming as well. can-Americans were being treated The flagship program at the Virginia right here in Virginia for hundreds Holocaust Museum is our Teacher of years. It is also an opportunity to Education Institute, held every sumteach about what is going on in the mer. During this institute, we educate world today. By discussing that geno-
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cide is not just a footnote in history, and is in fact still ongoing, we can eventually make the passive statement “Never Again” into a call for action. By using comparative history at the Virginia Holocaust Museum, we are able to help people understand the realities of the Holocaust and Modern Genocide. d Notes: i “Comparative History.” Making History. The Institue of Historical Research, 2008. Web. 04 Feb. 2014. ii “United States Policy Toward Jewish Refugees, 1941–1952.” United States Holocaust Memorial Museum. United States Holocaust Memorial Council, 10 June 2013. Web. 04 Feb. 2014. iii “How the United States Immigration System Works: A Fact Sheet.” Immigration Policy Center. American Immigration Council, 04 Nov. 2010. Web. 04 Feb. 2014. Thanks to Charles Coulomb, Chief Administrative Officer, Virginia Holocaust Museum, for contributing this article. Mr. Coulomb can be reached at the museum at (804) 257-5400 ext. 231, or via email.
Comparative History at Historic Polegreen Church The folks at Historic Polegreen Church educate the public about Samuel Davies and the Hanover dissenters against the Anglican Church. They highlight their historic fight to gain freedom of religion--the freedom to practice any religion, or no religion at all. These educators bring relevance and insight to this historic struggle by linking past with present by discussing present-day struggles for religious freedom and today’s issues surrounding the separation of church and state. Read more about this and about an exciting new partnership between Historic Polegreen Church and the First Freedom Center, on the VAM Blog!
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i
Health Care: What’s
by Ashley Corr, Account Manager, Jay Dew & Assoc
Information for Employers
Technical Insert
For many employers, the cost of health insurance continues to rise and is now the second largest expense item, trailing only payroll. The average annual cost per family is greater than $13,000 per year. Employers of all sizes are in a difficult position. They have few good options to manage utilization and catastrophic claims, and they have little information or control over the drivers of their fully insured premiums. They don’t know what claims they have or where their premium dollars go. The lack of transparency inherent in a fully insured plan prevents employers from taking control of the cost of providing health benefits. The only thing clear to employers is the annual increases they receive year after year. There are alternatives to the status quo. Let’s start by looking at what companies offering group insurance benefits can do to take back control. Self-funded plans enable employers that would otherwise remain with a fully insured plan, or traditional health insurance, an option to consider a new strategy that provides greater transparency and control. This yields stability and the opportunity to reduce costs. To start, self-funded plans are exempt from most of the taxes and fees associated with the Affordable Care Act (ACA), lowering costs right from the start. With fully insured health insurance plans, employers pay an insurance provider in advance to cover project-
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ed claims, in addition to the insurer’s overhead and administrative costs. However, in a self-funded plan, the money collected in premiums is only paid out when claims actually occur. To minimize the risk and protect your business, aggregate stop-loss insurance is put in place to cover claims over a certain amount for the entire group, and specific stop-loss insurance will cover claims over a certain amount for a specific person. You pay a monthly premium, which goes toward the aggregate and specific stop-loss insurance premiums, administrative costs and claims funding. If claim activity is favorable, you may have a surplus in the claim fund and those dollars are returned to the group. The fact that employers are directly paying for health insurance claims makes wellness programs and other incentive programs more effective. With fully insured plans, wellness initiatives generally do not result in a significant lowering of health insurance premiums. Jay Dew & Associates can help you assess whether a self-funded plan is a fit for your organization. Factors to study include past claims utilization, cash flow, and the status of the employees being covered. Different groups have different health profiles and patterns of care use. In short, self-funding can benefit both large and
small employers by helping them reduce healthcare costs and put those gains back into the organization.
HSAs, FSAs Explained
Health Savings Accounts (HSAs), Flexible Spending Arrangements (FSAs), and other tax-favored accounts offer another alternative to typical health insurance plans. These are savings products that offer a different way for consumers to pay for their health care. HSAs enable an employee to pay for current health expenses and save for future qualified medical and retiree health expenses on a tax-free basis. Used in conjunction with a High Deductible Health Plan (HDHP), an
s Next?
Additional Resources:
ciates
HSA may receive contributions from an eligible individual or from the employer on behalf of the eligible individual. Contributions made by the individual can be done pre-tax, and when these funds are used for qualified medical expenses they are not taxed. Individuals can build up these funds year after year, allowing them to take advantage of their good health and build up funds that they can use at a later date when the need arises. Funding of the HSA is often made possible by lowering the monthly premium significantly, allowing the money saved to be used to fund the HSA. The money contributed belongs to the employee and stays with them forever even if they move to a non-high-deductible health plan or onto Medicare. While they can no longer contribute, they can use the funds for qualified medical expenses. HSAs are a long term strategy that, over time, can yield great dividends. FSAs also allow employees and employers to contribute on a tax-free basis to their fund which can then be used to pay for qualified medical expenses and not taxed. FSA contributions offer only a limited ability to carry unused contributions forward. Currently, an individual can carry $500 forward to the next year. Unlike HSAs, FSAs do not need to be paired with a High Deductible Health Plan. FSAs are often prefunded by an FSA administrator, allowing the individual to contribute to the FSA monthly via payroll deduction but have access to the total amount he plans to contribute on day one. For example, if an individual planned to contribute $1,000 to his FSA via pretax payroll deduction over the plan year, he would have access to the full $1,000 from day one of the plan year.
His monthly contributions via payroll deduction would go to the FSA administrator. With many employers forced to move to plans with higher deductibles and higher co-pays, FSAs are a great tool to help their employees manage the increased out-ofpocket costs.
Advantages and Myths of Self-Funding for Employers with Fewer than 250 Employees: A Cigna White Paper IRS Publication 969 on Health Savings Accounts, Medical Savings Accounts, Flexible Spending Arrangements, and Health Reimbursement Arrangements Optima Health: 10 Health Care Reform Questions Everyone Should Know
Both HSAs and FSAs now have easy access to the individual’s funds via debit cards provided by the fund administrators. No more filing for reimbursements and waiting. Now you can swipe your card at the doctor’s office or pharmacy and be on your way. You can check your balance via your smartphone and get text alerts when your balance is low. These advances have made tax-favored plans like FSAs and HSAs much easier to use.
What about individuals?
As you know, ACA requires everyone to have health insurance coverage before the deadline - which now stands at March 31, 2014. If you do not have group coverage available to you, we can help. Jay Dew & Associates have partnered with the Virginia Association of Museums to bring you a “no cost professional navigator service.” You may wonder why you need a professional when you can go to the www.healthcare.gov website and sign up for coverage. We believe that while this is an option, it is not the best one. This is not a do-it-yourself project. The choices you make are important and could cost you far more than just your monthly premium should you choose a plan that does not fit your needs. The professional navigator service made avail-
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able to all VAM members gives you access to a licensed and experienced insurance agent who will answer all of your questions and will be there step by step as you go through the enrollment process to make sure you are enrolled in a plan that fits your budget and your lifestyle. Your agent will show you options in the private sector plans as well as the government exchanges to be sure you have access to the best possible options. This service will also be there should you need help after enrollment, be it with a claim, or prescription issue, or an enrollment change you may need to make during the year. Healthcare can be intimidating but with an agent by your side you can feel assured you are making the right choices for your health care needs. d Ashley Corr is an account manager with Jay Dew & Associates. You may contact him at ashleycorr@jaydew.com.
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New! Free Student Membership community through education, technical assistance, and advocacy. Offering free student membership to nurture future museum professionals and engage them in our professional community is in keeping with our mission. Thus, our Governing Council voted to put this change into effect beginning spring 2014.
“Patron” Membership Becomes “Benefactor” Membership
Program Updates
We are pleased to offer FREE membership to any full-time student who wishes to be a member of VAM. VAM’s mission is to serve as the resource network of the Virginia and District of Columbia museum
Our Patron members are the standard-bearers of our community, contributing to their profession through a higher level of support for VAM. It is this type of extra support that has allowed us to offer the free student memberships. In recognition of those members’ desire to “pay it forward” to the museum community,
we have re-named the Patron level membership “Benefactor.” Annual dues for this level of membership will be $125, effective this spring. In addition to the benefits extended to Individual members, Benefactors receive a reduced registration fee to the conference as well as an invitation to the Council Reception, plus recognition in VAM’s Annual Report and invitations to new special events coming soon. Stay tuned for details on these and other enhancements coming later this spring!
Virginia’s Top 10 Endangered Artifacts Why Participate?
• Put the spotlight on your organization’s collection • Boost your public relations by engaging your audience to support you and vote for your nominated artifact (Nearly 200,000 public votes were cast in 2013!) • Leverage your participation to seek conservation funding for your artifact • Past participants report increased press, new volunteers, and donations and grants • Be part of a nationally recognized program • It’s fun and FREE
Prepare with the Top 10 Punch List! • • • •
Talk with your staff and board about what item you might want to nominate Consider: • A significant artifact in need of conservation • An artifact with an interesting, engaging backstory Start taking photos of your artifact Write a clear, concise description of your artifact Be ready to explain the following (in the written application) so that our panel of collections specialists can evaluate: • The artifact’s significance • The present condition of the artifact • The conservation requirements and costs involved • Your museum’s plans for the artifact post-conservation ~ Stay Tuned for Details Coming June 2014 ~ www.vatop10artifacts.org
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VAM Welcomes FRAME
The French Regional American Museum Exchange (FRAME) is a consortium of 26 major museums in France and North America (including our own Virginia Museum of Fine Arts) that promotes cultural exchange in the context of museum collaborations. FRAME fosters partnerships among its member museums to develop innovative exhibitions, educational and public programs, and professional exchanges among museum staff, and maintains a bi-lingual website to reach global audiences. FRAME selected VAM to oversee the administrative duties of North America beginning January 1, 2014. Tracy Gillespie, VAM president, explained “FRAME is going to be a wonderful experience for VAM. Working with the members of FRAME will provide an opportunity to build relationships with the broader art museum community and bring us increased recognition throughout the national and international museum community, while supporting VAM’s operating budget.” “VAM’s primary commitment continues to be to its members and to the Virginia and DC museum community as a whole,” confirmed VAM’s executive director, Jennifer Thomas. “This new relationship will enable us to become a more powerful voice for our members, and will give us additional insight into art museums so that we may better serve our Virginia art museum and arts organization members.”
Effective February 1st, VAM, on behalf of FRAME, selected John Forsythe as coordinator of FRAME in North America. Says Thomas, “I am confident that John is someone who will provide creativity, intelligence, and extensive
John Forsythe is FRAME’s new coordinator in North America. John is based out of VAM’s Richmond offices. knowledge of French culture, and be able to build strong, lasting relationships among FRAME members and between VAM and FRAME.”
FRAME has many major projects each year on each side of the Atlantic. Among them, in 2014, there is Joseph Cornell and Surrealism. This exhibition is a collaboration between the Musée des Beaux-Arts of Lyon and the Fralin Museum at the University of Virginia. This exhibit opened at the Fralin on March 6th and runs until June 8th. It emphasizes the work of Joseph Cornell and has pulled together many different Surrealists from both France and the United States to create a retrospective showing the breadth of creativity on both sides of the Atlantic. Matthew Affron, Muriel and Philip Berman Curator of Modern Art, Philadelphia Museum of Art, who is the exhibition’s curator, and Sylvie Ramond, Director of the Musée des Beaux-Arts of Lyon, opened the exhibition. Matthew remarked how FRAME is a very unique organization that facilitates easier communication and a focused mission. 2015 and 2016 will be exciting as well. The proposed FRAME exhibitions will be unique to past events and groundbreaking for their respective audiences. To keep abreast of goings on in the FRAME organization, visit www.framemuseums.org, follow FRAMEMuseums on Twitter and on Facebook, or contact John directly at jforsythe@framemuseums.org. d
John Forsythe brings with him a varied background of IT experience, arts management, and a love of glass blowing. Mr. Forsythe is a volunteer at the Chrysler Museum of Art’s Perry Glass Studio in Norfolk, VA. John’s experience as an artist as well as working with the public gives him a unique perspective on what makes a cultural mission succeed. Says Mr. Forsythe, “I am very excited to embark on this opportunity to work with FRAME members to enhance the mission of making art appreciation more accessible to the public.”
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George Washington’s Moun
by Jamie Bosket, Vice President for Guest Experience, George Washingt Just 60 years after the death of George Washington, the estate he loved, designed, and called home for more than four decades, was nearly lost. The iconic property Washington spent a majority of his life building was in decline. The Washington family hoped to save this historic home, but only after unsuccessful attempts to sell the estate to the federal government and the Commonwealth of Virginia, did they finally come to the lasting solution – The Mount Vernon Ladies’ Association of the Union.
Opened to the public in 1860, the estate has since welcomed over 85 million people, making it the most visited historic home in the nation. As Ann Pamela Cunningham so passionately wrote in her farewell address in 1874: “…the Home of Washington will be the place of places in our country, let
resting-place in America, let them see that we do know how to care for the Home of our Hero!” The Ladies’ Association, with only one representative per state, continues to protect Washington’s home and legacy. Evolving over time, and serving a national mandate, the Association is firmly focused on its lasting mission of preservation and education – keeping alive the unparalleled story of George Washington for future generations.
Member Profile
The estate today is nearly 500 acres and features one of the nation’s most extenInspired by founder Ann sively preserved 18th-cenPamela Cunningham, the tury plantations, and one Ladies’ Association was one Expanding the original structure built by his father in of the world’s most robust of the very first female-run 1735, George Washington transformed his home into a 21-room Mansion, and one of the most identifiable collections of original Washnational organizations. Esbuildings in America. ington artifacts. In addition tablished in 1853, the Associto the Mansion and more ation acquired Mount Vernon in them see that, though we slay than a dozen original structures, 1858, and thus began in earnest our forests, remove our dead, the property also showcases rethe American historic preservapull down our churches, remove stored gardens and landscapes. tion movement. from home to home, till the Great effort has also been directhearthstone seems to have no ed in recent years to replicate
The Fred W. Smith National Library for the Study of George Washington at Mount Vernon
The Library opened on September 27, 2013 fulfilling Washington’s hope for a library and Mount Vernon’s vision for a center of scholarship.
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At the heart of the Library is the Karen Buchwald Wright Reading Room, an elegant space for research by the public and Mount Vernon in-residence fellows.
Built as the ideal place to safeguard Washington’s original books, manuscripts and other important resources within the Library, is the John and Adrienne Mars Rare Books and Manuscripts Room.
nt Vernon
ton’s Mount Vernon For over 150 years, the Mount Vernon Ladies’ Association has welcomed visitors from across the nation and around the world, while remaining extraordinarily focused on preserving and showcasing the legacy of the Father of Our Country. In the process, this remarkable site has become the foremost resource on his remarkable American life. d
Opened in 2006, the Donald W. Reynolds Museum and Education Center, built under a sheep pasture near the historic area, features 23 galleries and three theaters that cover every facet of Washington’s fascinating life.
lost structures, including Washington’s 16-sided treading barn, blacksmith shop, dung repository, gristmill, and distillery, all of which are now fully functioning. In 2006, after raising more than $116 million, the Association opened two new complexes totaling nearly 70,000 square feet. The Ford Orientation Center, an elegant space designed to welcome Mount Vernon’s one million annual visitors, features a variety of guest amenities including two large movie theaters. The Donald W. Reynolds Museum and Education Center boasts 23 galleries and three theaters, including the very popular Revolutionary War immersion experience. Combining the authenticity and grandeur of Mount Vernon’s historic structures, collections, and landscape with effective and engaging exhibits, films, technology, and a comprehensive interpretive portfolio, Mount Vernon is posi-
tioned as one of the nation’s preeminent history attractions. Mount Vernon has also begun advancing its research and outreach initiatives with the completion of its most recent major project – a presidential library for Washington. In 1797, Washington wrote to a friend, “I have not houses to build except one, which I must erect for the accommodation and security of my military, civil and private papers, which are voluminous and may be interesting.” Now, more than 200 years later, his vision is reality. Opened in September 2013 after the Association raised more than $106 million, The Fred W. Smith National Library for the Study of George Washington is a 45,000 square-foot facility devoted to safeguarding Washington’s original materials, sponsoring scholarship, and providing leadership training based on the General’s sterling example.
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Mount Vernon opened a new exhibition in the Donald W. Reynolds Museum and Education Center on February 22, 2014. Gardens & Groves: George Washington’s Landscape at Mount Vernon explores Washington’s design for the estate and highlights his interests and talents with more than 40 rarely seen items from Mount Vernon’s collection, original Washington books, and letters on loan from across the country. The centerpiece of Gardens & Groves is a spectacular model of Mount Vernon’s landscape as Washington last saw it in 1799. Gardens & Groves will be on view through January 2016. Mount Vernon is open 365 days a year! Visit online at MountVernon.org.
VAM would like to give a special thanks to Jamie Bosket and all the folks at George Washington’s Mount Vernon for hosting our conference evening event on Monday, March 17th.
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Book Review: Priceless...
by Jennifer Thomas
Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures, Robert K. Wittman with John Shiffman, Crown Publishing: 2010. Priceless opens with an undercover art sting in Miami Beach, complete with a yacht, a Rolls Royce, and two French henchmen from the European art underworld. This is the first glimpse we get of our protagonist, Robert Wittman, in this sting known better as Bob Clay, and the only thing odd about this Miami Vice-inspired scene is that it is a true story. Wittman, founder of the FBI’s Art Crime Team and senior investigator for the Bureau until his retirement in 2008, has some great stories to tell from his many years investigating art crimes. He lays them all out for the reader like a holiday feast, and even includes some tantalizing hints
about the most famous art heist of recent history, the Isabella Stewart Gardner theft in 1990. Wittman relays these stories in a bit of an unpracticed voice that is more beat cop than storyteller, but the reader can’t help but be intrigued and caught up in this view into a world we never see. We can’t help but get excited when Wittman gets close to recovering a stolen painting, or frustrated when he loses the trail.
In between the juicy investigation scenes, Wittman interjects his personal history—how he joined the Bureau, how he got to be an art investigation expert, and what the politics of the FBI were like. One statistic he mentions early in the book: the FBI, as of 2008, had only a handful of art crime investigators across the country, only one of whom was assigned to art theft full time. Compare that to the Gendarnerie Nationale in Paris with 30 full time officers, or to Italy’s 300 person unit, and you will see that what Wittman and his very small cadre of agents have been able to accomplish is astounding. It is well worth your time to read this entertaining tale of a G-man doing the best he could to recover the priceless artifacts we all care for in our museums every day.
Join us March 7th - 10th 2015 at the Omni Hotel in Richmond, VA for #VAM2015
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Ask-a-Conservator Question: “How do you find and then choose a conservator?” “Simply put, define your needs and desires as accurately as possible, advertise as broadly as possible (through conservation organizations and training programs/schools and through personal and professional contacts far and wide), and then concentrate on the applicants whose experience most closely matches what you need. Leave the post open ...sufficiently long to allow for many responses. Some you’ll be able to eliminate quickly, such as the recent biology grad whose experience was with (living) black bear conservation.” - C. Diane DeRoche, Ph.D., Chief Curator, Department of Historic Resources “As a conservator who frequently had to hire other conservators at my previous job I have some experience in this area. First, I would identify which specialty of conservation was required for the project. Then I would check the AIC website for conservators in that specialty in the local area. The AIC “Find a Conservator” page will only recommend conservators who are professional associates or fellows of AIC so I was assured of getting a certain level of qualified candidates. I would also solicit recommendations from other institutions that would have had reason to hire a conservator of that specialty. By using both methods, I could create a shortlist of conservators. Then I would have them come in, discuss the job and send me a treatment proposal and a bid. From that I could usually make a choice as to which conservator would be best for the project. If it went well, then I kept their information for the future. In this way, I created a list of
“go to” conservators for all specialties and then I was less likely to be left in a lurch if something came up at a later date.” - Katherine Ridgway, Conservator, Department of Historic Resources “[I agree that] The American Institute for Conservation of Historic and Artistic Works, or AIC, is a great resource. [The conservators in their listings] are Professional Associate members of AIC. Professional Associate status
may be obtained by meeting a set of standards and through a peer review of one’s work. Conservators who are members of AIC follow the AIC’s code of ethics and guidelines for practice, which are signs of a professional Conservator. An important feature that distinguishes a professional Conservator is that written and photographic documentation will be an important part of her/his work on your piece. It is also a good idea to contact personnel at the larger museums in your
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geographic area to obtain names of private Conservators. If the museum has a Conservation department, you should contact a Conservator in the area of specialty that concerns you. Otherwise, contact the Registrar, appropriate Curator, or possibly even the Director’s office. Once you have the names of a few Conservators in your area, it is a good idea to contact them. Talk about the piece that needs treatment or the type of services required, such as a collection survey, and you should get some sense of how each Conservator operates. Of course, they will not be able to tell you on the phone or by email exactly what type of treatment your object needs, but they will tell you whether they charge a fee for the initial visit to examine your piece and how soon they can meet with you to look at it. You should also ask about their training, background, and experience. You may wish to meet with more than one Conservator to look at your artwork or historic object, especially if you are unsure after meeting with one that they are taking an approach you agree with. There is a range of philosophies in the field, as well as a range of materials used. Approaches may be more or less conservative or interventive, and you want to be confident that the Conservator you choose is in line with your thinking and that they have the integrity of your piece as a high priority.” - Marla Curtis, Conservator, Curtis Fine Art Conservation LLC
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Director’s Corner Our Governing Council President, Al Schweizer VP, Planning & Resources, Gary Sandling VP, Programming, Gretchen Bulova Secretary, Anna Holloway Treasurer, Norman Burns Past President, Tracy J. Gillespie Ex-Officio Members, Robert C. Vaughan and Robin Nicholson
Dear Members, The 2014 conference marks a milestone for me. Not only is it my 16th conference, but I have finally gotten a chance to experience it from three different angles, something I don’t think anyone else can say: first as a museum professional (1999 and 2000), then as general-runneraround-and-make-things-happen person (2001-2013), and now as leader of what I consider (albeit with a bit of a bias) one of the best association conferences out there. Some things you see very quickly when you attend as a museum professional. I knew in my first year that VAM was an organization devoted to its members, and that those members were gracious, welcoming, and frankly, quite a fun group! As general-runner-around-person, I got another view; I got to see how generously all of our speakers shared their knowledge and experience, and how easy it was to ask for help and get it, often from many
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D i re c to r s Eric App Karen L. Daly Charles Grant Debi Gray Tramia Jackson Lisa Martin Melanie L. Mathewes April Cheek-Messier Robert Orrison Dana Puga Barbara Rothermel Vanessa Thaxton-Ward Charlotte Whitted Eric S. Wilson
O u r Vo i ce VAM Voice is a member benefit published quarterly for museum professionals and volunteers. The editor encourages readers to submit article proposals. Contact the Communications Director for more information. O u r Co nta c ts Phone: 804. 358.3170 Fax: 804. 358.3174 www.vamuseums.org jthomas@vamuseums.org cnewton@vamuseums.org hwidener@vamuseums.org su@vamuseums.org O u r N e ws D e a d li nes Spring: February 15th Summer: May 15th Fall: August 15th Winter: November 1st Our Mission The mission of the Virginia Association of Museums is to serve as the resource network of the Virginia and District of Columbia museum community through education, technical assistance, and advocacy.
hands at once. Now, as director, I O u r Sta f f Executive Dir., Jennifer Thomas get to see a bit of Assistant Dir., Christina Newton a longer view, and Communications Dir., Heather Widener perhaps a wider Accountant, Su Thongpan view. I get to see least, we thank our members, who that while I may sit at the helm of this organization, and give their time, who mentor their colleagues, who pay their own way I may get to steer the ship in a gento conference when their museums eral direction, that is only, as they can’t swing it, and without whom say, the tip of the iceberg (perhaps we would be just another associatoo many ship metaphors this time tion. Call me sentimental, but the around?). conference brings it out in me every year. It may be sheer exhaustion, but There have been so many wonderI like to think that it is much, much ful coincidences of fate that have more. allowed VAM to thrive, and to be the unique force it has become. We Sincerely, thank our exhibitors and sponsors, who love us and continue to support us through the worst economic times - even when they stop doing other trade shows. We thank our Council, who are the most engaged and active board I have ever had the Jennifer Thomas pleasure to work with. We thank our Executive Director staff, who do far more than any 2.8 Virginia Association of Museums full time people should conceivably be able to do. And, last but not
Jennifer