Winter 2013 VAM Voice

Voice

3126 W. Cary St., #447 | Richmond, Virginia 23221-3504 | 804. 358.3170 | www.vamuseums.org | Winter 2013

Crowdfunding: Fad or the Future?

i Are You Adequately

Protecting Your Museum?

Member Profile: The DEA Museum Plus, VAM’s FY2013 Annual Report

From James Carling’s original artwork for Poe’s “The Raven.” Image courtesy of Edgar Allan Poe Museum.

Contents Crowdfunding: Fad or the Future?

by Heather Widener

3-4

i

Technical Insert: Are You Adequately 5 - 6 Protecting Your Museum?

Risk management questions every museum should ask!

by Mike Harding, MS, WSO-CSE, Senior Loss Control Specialist, Markel

VAM FY 2013 Annual Report

7 - 10

Program Updates 11 - 12

Getting the Most out of a Conference

by Christina Newton and Jennifer Thomas

Virginia’s Top 10 Endangered Artifacts 2013

Member Profile: The DEA Museum

by Heather Widener

13 - 14

Ask an Educator 15 Book Review: Speak up for Museums The AAM Guide to Advocacy

by Jennifer Thomas

President’s Corner 16

by Tracy Gillespie

Our Governing Council

President, Tracy J. Gillespie VP, Planning & Resources, Al Schweizer VP, Programming, Gary Sandling Secretary, Anna Holloway Treasurer, Norman Burns Past Presidents, John Verrill and Scott Harris Ex-Officio Members, Robert C. Vaughan and Robin Nicholson

D i re c tor s

Eric App Gretchen Bulova Donald Buma Karen Daly Charles Grant Debi Gray Tramia Jackson Lisa Martin Melanie L. Mathewes April Cheek-Messier Robert Orrison Dana Puga Barbara Rothermel, Ph. D. Vanessa Thaxton-Ward, Ph. D. Charlotte Whitted Eric S. Wilson

O u r Sta f f

Executive Director, Jennifer Thomas Assistant Director, Christina E. Newton Communications Director, Heather Widener Accountant, Su Thongpan

O u r Voi ce

The VAM Voice is a member benefit published quarterly. The editor encourages readers to submit article proposals. Contact the communications director for more information.

O u r Con tac ts At CESi, we are passionate about service, obsessed with quality and committed to being your partner. As a result, we pride ourselves on value engineering, understand the demands of public space usage and offer solutions that maximize impact, quality and lifetime value.

Core Areas of Expertise: • Museums & Visitor Centers • Traveling Exhibits • Permanent Installations

www.capitolexhibit.com

2

• Lobby & Reception Areas

(703) 330-9000

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 w s D e adl i n e s 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.

Crowdfunding: Fad or the Future?

by Heather Widener

Crowdfunding, or the practice of funding a project by raising small amounts of money (as little as $1) from a large number of people, turns the traditional development model upside-down.

Rather than courting a few large donors willing to support an organization in general, crowdfunding demands that you reach out to a potentially limitless audience, usually for a very specific project or initiative. What is appealing to people who donate to crowdfunding campaigns is that it takes out the “middle man” (the organization itself) and allows people to donate directly to a project.

Crowdfunding is popular because it is an inexpensive way to reach a broad audience. It leverages things like social media in the service of fundraising. There are an increasing number of crowdfunding platforms available to choose from (see sidebar). Most of these make money by taking a small percentage of each donation raised (read the fine print!). The upside to this is that the site itself has a stake in seeing your project succeed, so they’re likely to build in tools that help you do so. For example, Indiegogo.com includes analytics tools, social media integration, and direct mail features to help fundraisers get started. Their website even advertises, “No tech skills needed!”

Some sites, such as Kickstarter.com, have an “all or nothing” approach. In other words, if your organization does not reach its fundraising goal, it receives nothing. This happened recently when the Poe Foundation staged a Kickstarter campaign to preserve and publish James Carling’s illustrations depicting Poe’s famous poem, “The Raven.” The foundation had over 650 backers willing to donate a total of over $51,000, but because their

While this is obviously a risk, the lesson that emerges is to think carefully about how much funding to ask for. “Rules” like this encourage organizations to be very careful – and conservative – in their estimation of what they might raise. Many organizations choose to ask for an amount that doesn’t cover an entire project, but instead a key aspect of that project. From the donor side of the equation, the all or nothing approach decreases their risk. If the project is destined to fail due to lack of funds, their donation is cancelled before it’s “too late.” Additionally, if a project gets very enthusiastic – or lackluster – support on the web, that may inform the museum’s team as to the project’s potential success as it moves forward. Says Semtner, “It might be a good way to raise funds for a small project.... We tried Kickstarter because it was the best known crowdsourcing site, but it would be better to use one of the others that allow you to keep everything you collected even if you do not reach your goal.”

What projects or initiatives are natural fits for crowdfunding campaigns? People who are likely to donate through a crowdfunding initiative demand to know what their money is being used for- in a specific sense - and they want to see results. So planning a large, multi-year capital campaign solely around crowdfunding would usually be a mistake, for example. It is important to plan your fundraising goals based upon what is achievable and realistic. Remember: crowdfunding is just another fundraising tool, and it works differently than some of your museum’s other development tools.

To delve a little more into the world of crowdfunding, we spoke with Allison Peck at the Freer-Sackler, The Smithsonian’s Museums of Asian Art. The Freer-Sackler recently used Razoo.com to complete a successful crowdfunding campaign that resulted in over 600 donors giving over $170,000 in support of the world’s first exhibition on yogic art. “Yoga: The Art of Transformation” opened in October and the crowdfunding initiative supported many

Wi nte r 2 0 1 3

A Sampling of Crowdfunding Platforms Kickstarter.com

This is the best-known crowdfunding site and currently gets the most traffic.

The cost ends up being approximately 8% - 10% when you add in the transaction fees. Kickstarter has an “all or nothing” model that builds urgency into your campaign and encourages conservative goal-setting.

Indiegogo.com

This site represents a diverse assortment of projects and is available in every country. There is an all-or-nothing plan, but there are other options. Fees range between 7% - 12%, depending on the plan you choose and whether you reach your fundraising goal.

Razoo.com

According to its website, Razoo is a movement of people who want to make generosity a part of everyday life. The site boasts a low 4.9% fee that goes to its own 501(c)(3) nonprofit foundation.

Fundrazr.com

Fundrazr is a Canadian-based site and includes a Facebook app to incorporate your campaign to your Facebook page.

This is a good site to consider if your organization has a robust Facebook following. Cost is 5% plus 2.2% +$.03 transaction fees.

StartSomeGood.com

Focused on projects for the social good, this site has you choose a “tipping point” fundraising goal (that you must reach) and an “ultimate fundraising goal.” Cost is 5% plus 3% transaction fees.

RocketHub.com

RocketHub has partnered with A&E to shed additional spotlight on the most successful campaigns. There is no all-ornothing model here, but fees are highter if goals aren’t met. Cost is 8% - 12%, depending on whether funding goals are met.

Cover Story

Crowdfunding is combination of fundraising and marketing. Crowdfunding initiatives usually take place on the internet, with the potential for – like ripples in water – the “viral” expansion of a well-crafted and engaging story. But we all know that a “build it and they will come” mentality doesn’t always bear fruit. So we decided to delve into the platforms, strategies, and case studies in crowdfunding to see how this new kid on the development “block” can augment traditional fundraising methods.

goal was $60,000 and they did not meet it, they got nothing. We spoke with Chris Semtner of the Poe Museum who notes, “The ‘all or nothing’ policy means a lot of time and effort can go into getting absolutely nothing, which means we are worse off after the campaign than we were before if you factor in all the time taken away from other projects.”

*This is not an exhaustive list. New platforms emerge every day. Spend some time researching what platform might best meet your organization’s needs.

3

Crowdfunding: Fad or the Future?

Cover Story, continued

behind-the-scenes aspects of the exhibition.

According to Allison, crowdfunding worked for the needs of that particular exhibition because yoga already has a community and group ethos.

“We knew we wanted to raise money as well as build community around the show. We wanted to raise awareness and create an outlet for folks who wanted to be involved in the show.” The campaign engaged about 600 donors, some who have become long-term donor prospects.

Another thing that helped the campaign a lot was the offer of corporate matching grants.

Says Peck, “It takes a lot of $20 donations to get $50,000.” One piece of advice that Allison offers to fellow museum professionals considering a crowdfunding campaign, “Start earlier than you think you’ll need to start and devote more staff time than you’ll think you’ll need. We started 1.5 months in advance; in hindsight we should have started 6 months in advance.”

As museums use crowdfunding tools and share their successes and challenges, a set of best practices is emerging. Effective planning is at the core of those. Museum fundraisers must ask themselves: • What do we want to ask for?

• How much do we need?

4

• Is the amount right for a crowdfunding campaign? Or, • Will a different development tool work more effectively?

• Is the time right for a crowdfunding campaign?

• What is our campaign’s “story” and how will we engage our current audience and introduce that story to a new audience?

Crowdfunding has the potential to meet the needs of many fundraisers. Its low budget, high-tech approach is appealing to many, and it is a great tool to add to your museum’s development repertoire. If you are embarking on a campaign simply because it’s the bright and shiny new thing, you may want to stop and think again. There is no tool available that can replace effective planning in the realm of fundraising. But if your museum has an initiative or a project whose story would speak to donors in a campaign, begin by answering the questions above and start your journey into the exciting world of crowdfunding! d AAM, in partnership with PRAM, recently hosted a webinar entitled Building Audience Engagement and Public Awareness through Crowdfunding. That webinar is available for purchase on the AAM website.

10 Questions to Ask Before Choosing a Crowdfunding Platform:

1.) What is the cost - both outright and in terms of processing and transaction fees?

2.) Do donors receive a tax-deductible receipt?

3.) What kind of donation tracking and analytics are available?

4.) Are there social media apps, embeddable code for your own website, or other features that will help you leverage your campaign across your media channels?

5.) What kind of web traffic does the platform get in comparison to other platforms?

6.) What support is offered? Is there a person to call if things go wrong?

7.) Is mobile giving possible with this platform?

8.) What credit cards are accepted and does the site use something like PayPal or WePay to process payments?

9.) How long can you expect to wait after your campaign before you receive your payment?

10.) What does the fine print tell you?

i

Are You Adequately Protecting Your Museum?

Risk management questions every museum should ask!

by Mike Harding, MS, WSO-CSE, Senior Loss Control Specialist, Markel • There are over 850 million visits to American museums per year—more than attendees of all major sporting events and theme parks combined.

• Museums directly contribute more than $21 billion to the national economy.

• 400,000 people nationwide are employed by museums.

• Museums invest more than $2 billion a year in education. (source: American Alliance of Museums)

Can you see risks lurking behind those numbers? You are busy running your museum so allow us to help by adding risk management as a preserving force for your institution. Are you adequately protecting your museum? Let’s see by answering the following: YES NO ___ ___ Does your museum hold any large fundraising or special events during the year? ___ ___ Do you use volunteers? ___ ___ Does anyone drive their vehicle on behalf of your museum? (Either staff or volunteer?) ___ ___ Do you use Facebook (or other forms of social media) to promote your museum? ___ ___ Do you have any contracts with other organizations?

Technical Insert

Did you answer “YES” to any of the above? If so, then are you: YES NO ___ ___ Talking to your insurance agent to review each event to make sure you have the right kind of insurance protection? ___ ___ Performing background checks on not only your staff but also your volunteers? ___ ___ Checking the driving records of everyone that drives for your museum to ensure you use drivers with a good driving history? ___ ___ Monitoring the social media posts your museum receives so that your reputation isn’t tarnished? ___ ___ Double-checking and rereading contracts (what exactly are you agreeing to)?

These are just a few of the many questions you can ask to help you protect your museum. When you engage in this kind of process, you’re utilizing risk management. Risk management is much more than just buying insurance and it does not focus on eliminating risks. On the contrary, risk management allows you to “take on” the many desirable risks that your museum must take to accomplish your mission. Risk management is actually a forward-thinking process. It allows you to manage the risks your museum faces by helping you develop a practical plan to identify, manage, and minimize the adverse effects of the unexpected. How do you get started with this forward thinking process? It all starts by asking these five questions: 1. What can go wrong?

2. Why are you concerned about it?

3. What will you do to prevent harm from occurring?

4. What will you do to lessen the worry?

5. How will you finance that?

These questions will help you start thinking about what might go awry with your museum. In order to systematically answer these five questions, you will also need to ask yourself some other questions about the many components that often make up an all-inclusive risk management plan. Many of these components probably already apply to your museum, and a few of them may not. This is a great time for you to take a look at each of these areas and get an idea of how well you are protecting your museum.

To help you examine each one of these areas (ovals), some additional questions you can ask are found below. These won’t be all the questions you’ll probably ask, but it gives you a healthy place to start. Your answers may provide some insight into how well you’re managing your risks and protecting your museum.

1. Are you providing risk management leadership?

2. Did you know that people (both staff and volunteers) are a. Have you helped staff understand risks in a general way? a common area of risk for museums? b. Do you have policies that evaluate risk exposures? a. Have you established clear, concise, and fair hiring practices? c. When a risk is identified, do you develop and implement plans b. Are the practices in writing? Are they in a staff handbook?

to manage it? c. How are these practices communicated? d. Are staff and volunteers held accountable? d. Have your managers been trained to apply your policies? e. Do employees know their role relative to risk? e. Are policies consistently applied?

Wi nte r 2 0 1 3

5

Are You Adequately Protecting Your Museum?

Technical Insert, continued

f. Is your hiring done according to policies? g. Are background checks done on everyone? Screening? h. What are your background checking policies? i. What are your terminations policies? Are they uniformly applied? j. Have all policies and procedures been reviewed by HR / legal counsel?

3. Have you adapted your policies and procedures for volunteers? a.Do you have “job descriptions” explaining how volunteers will be used?

i. If yes, do you use these to screen, select, orient, train and

evaluate your volunteers? b. To what degree will volunteers have direct contact with patrons? c. What happens if a volunteer is injured? d. What rights will volunteers have if they feel they’ve been unfairly treated? e. Will volunteers be allowed to drive museum vehicles or be required

to drive their own?

4. What backup staffing plans have you made for key positions? a. What positions have been “red-flagged” as key to your museum? b. How will you back up these positions if key staff are suddenly unavailable? c. Is your staff crossed-trained to handle emergencies? d. Has your insurance agent reviewed your plans to see if some policies

are available to boost your protection?

5. Have you determined safety risks faced by staff, volunteers,

participants, visitors, and the community you serve? a. Do you know the frequency of past safety incidents? b. How has your museum dealt with past incidents? Who was responsible? c. What have been the costs (losses and mitigation) associated with

these safety incidents? d. Do you know what legal regulations apply to your museum?

6. What contracts are 3rd parties asking you to sign? a. What are you agreeing to? b. If they are asking for “additional insured” status then these 3rd parties

have FULL rights to your policy – are you comfortable with this? c. Are YOU requiring 3rd parties like caterers to add your museum as

“additional insured” on their policy? d. Are you sending all contracts to your insurance agent for review?

7. When was the last time you assessed your risks related to your facilities? a. Who is (will be) responsible for facility-related issues? b. Are your facilities owned or rented? c. Are you leasing properties to others? d. Do you have an inventory of all of your property assets? Physical and intellectual? e. Should you have on- or off-site security? How is security provided? f. What facility-related issues have come up in the past related to financial,

maintenance, legal, safety, or other matters? How were they handled?

8. Are you managing your workers’ compensation program or is this

deferred to your insurance company? a. Are your volunteers covered by an Accident Medical Policy? b. Have you implemented training and safety programs highlighting

your key risks? c. Does your museum have claim reporting procedures for all incidents? d. Do you have a return to program with light alternative duty?

9. Does your museum have crisis and emergency plans? a. To build this plan did you:

i. Make a list of (bad) things that could happen?

ii. Review past incidents and considered other risk factors?

iii. Prioritize your list?

iv. Create a plan around each risk? A back up plan? b. Have you defined responsibilities of your staff and volunteers? c. Have you made provisions for managing the media?

10. Do you have a written plan to manage your driver safety and

driving exposures?

6

a. Does it include:

i. A method to evaluate and select qualified drivers?

ii. Policies and procedures that define driver expectations?

iii. Training that includes orientation, defensive driving and

on-going training?

iv. Process for incident reporting

v. Protocols for inspections and maintenance

vi. A focus on managing driver safety 11. Are you managing your museum’s social media risks? a. Do you monitor the feedback you receive? b. Does your staff understand “social” etiquette? c. Do you have response procedures to address negative comments?

12. What about your insurance company? a. Are they helpful/knowledgeable? b. Who cares? They just take our money. c. Is your insurance agent helpful in finding insurance companies for

cultural institutions? d. You should view your insurance company as a partner in risk and

there are many benefits to that.

The goal behind all of these questions is to help you create a culture of risk management where risks are routinely managed and integrated into your day to day operations. To help you better protect your museum, include risk management as part of your museum business.

Do YOU have questions? If so, ask your agent to contact Jamie Gregory, Fine Art Underwriter, 804-527-7662, or jgregory@markelcorp.com for more information regarding appropriate and sufficient protection against the risks commonly encountered by cultural institutions. d

Virginia Association of Museums

l

www.vamuseums.org

2012 - 2013

Annual Report

T

his year has been a bittersweet one for VAM. We held a very successful conference at the Homestead, and our third Museum Advocacy Day at the General Assembly, which reached 95 state legislators and their staff. But we also had to say good-bye to our longtime executive director, Margo Carlock, who accepted a new position at the National Association for Interpretation in Colorado. Perhaps our most visible success of the year was our second Top Ten Endangered Artifacts List, funded by the Institute of Museum and Library Services. Identified as one of the best ideas to come out of the national Connecting to Collections grant program, our Top 10 Endangered Artifacts program in 2012 attracted over 120,000 public votes for our nominated objects! Overall, it was an exciting year for the VAM staff, Council, and members. Thank you for being a part of it.

l

Left to right: Greg Stevens of the American Alliance of Museums presents a session at the VAM 2013 Annual Conference; VAM’s previous executive director Margo Carlock with Preservation Virginia’s Elizabeth Kostelny and Delegate Mark L. Keam (D - 35th District) chat at the legislative breakfast during VAM’s third annual Virginia Museum Advocacy Day in January, 2013; VAM members, volunteers, and staff get together and let their hair down during one of the many fun networking opportunities we offer throughout the year.

Special Thanks to Our Sponsors

Amrestore Blair, Inc. Cinebar Productions, Inc. Clarkson & Wallace Real Estate Dorfman Museum Figures Glavé & Holmes Architecture Gropen, Inc. HealyKohler Design

Hollinger Metal Edge Homestead Preserve Lynchburg College Museum Studies Program Markel Artworks Museum Rails Natural Retreats OnCell Systems

Wi nte r 2 0 1 3

l

Rudinec & Associates: Request-aPrint Shenandoah Valley Productions LLC StudioAMMONS Stumpf & Associates, Inc. The Design Minds, Inc. TourSphere Willis of New York, Inc.

7

Thank You Member Museums

VAM represents all Virginia and D.C. museums through advocacy, professional education and support. We have over 1,000 members, consisting of individuals, businesses, and member organizations, which range from historic houses to botanical gardens, aquariums, zoos, children’s museums, historical societies, art museums and galleries, battlefields, military museums, and more. VAM thanks the following member institutions for their support in FY 2013, making our museum community the best in the nation! * Organizations in bold hold memberships at our flagship INS8 level.

Abraham Lincoln Library & Museum African American HS of Portsmouth Afro-American Historical Assoc. of Fauquier County Museum Agecroft Hall & Gardens Albemarle-Charlottesville HS Aldie Heritage Association Aldie Mill Historic Park, NVRPA Alleghany Highlands Arts & Crafts Center Alleghany HS Allen E. Roberts Masonic Library & Museum, Inc. AMA Museum Augusta Military Acadamy Alumni Association, Inc. Amazement Square, The Rightmire Children’s Museum

Chesapeake Beach Railway Museum Chesterfield HS Children’s Museum of Richmond Chrysler Museum of Art City of Fairfax (Fairfax Museum & Visitor Center, Ratcliffe-Allison House, and Historic Blenheim) Clarke County Historical Association Museum & Archives Clerk of the Circuit Court, Loudoun Cold War Museum Collingwood Library & Museum on Americanism Colonial Beach HS, Museum at Colonial Beach Colonial Williamsburg Foundation Danville HS DAR Museum

VAM would like to especially thank the following organizations for their substantial and ongoing support and commitment.

American Celebration on Parade American Civil War Center At Historic Tredegar Appomattox County HS Archaeological Society of Virginia & Kittiewan Plantation Ashland Museum Association for the Preservation of Henrico Antiquities Atlantic Wildfowl Heritage Museum Baron & Ellin Gordon Art Galleries at Old Dominion University Barrier Islands Center Bath County HS Bedford City County Museum Belle Grove Plantation Beth Ahabah Museum & Archives Black History Museum & Cultural Center Blue Ridge Institute & Museum Botetourt County HS & Museum Brownsburg Museum Brunswick Museum & HS BugBook Computer Museum Camera Heritage Museum Cape Charles HS Captain Timothy Hill House Carlyle House Historic Park Carver Price Legacy Museum Friends of Cherry Hill Farm Foundation

8

D’Art Center Daura Gallery, Lynchburg College DEA Museum & Visitors Center Edgar Allan Poe Museum Edith Bolling Wilson Birthplace Museum Eleanor D. Wilson Museum Endview Plantation Essex County Museum Fairfax County Park Authority Fairfax Station Railroad Museum, Friends of the Fairfax Station Federal Reserve Bank of Richmond, The Fed Experience Floyd County HS Fluvanna County HS Fork Union Military Academy Fort Monroe Authority Fort Valley Museum, Inc. Fralin Museum of Art, UVA Francis Land House Fredericksburg Area Museum & Cultural Center Friends of Chevra Thelim Frontier Culture Museum Gadsby’s Tavern Museum Gari Melchers’ Home & Studio at Belmont Genex Showcase Miniature Museum George C. Marshall Museum George Washington Masonic

National Memorial George Washington’s Mount Vernon Gloucester Museum of History Gloucester Museums, Gloucester Courthouse Green & Visitor Center Grayson County HS Grayson Crossroads Museum, Historic 1908 Courthouse Greene County HS Gunston Hall Plantation Hampton History Museum Hampton Roads Naval Museum Hampton University Museum Hanover Tavern Foundation Henrico County Museum Services Henricus Historical Park, Henricus Foundation Hermitage Museum & Gardens Historic Christ Church Historic Crab Orchard Museum Historic Hopewell Foundation Historic Sandusky, Lynchburg Civil War Museum Historic Smithfield Plantation Historic St. Lukes Church HS of Western Virginia Isle of Wight County Museum James A. Fields House James Madison’s Montpelier James Monroe Memorial Foundation James Monroe Museum & Memorial Library Jamestown-Yorktown Foundation King and Queen County HS & Museum King William County Historical Museum Kluge-Ruhe Aboriginal Art Collection, UVA Lee Chapel and Museum Lee Hall Mansion Lee-Fendall House Museum & Garden Legacy Museum of African American History Library of Virginia Loudoun Museum Louisa County HS Lynchburg Museum System Mabel Jones Moore Museum MacCallum More Museum & Gardens Maier Museum of Art, Randolph College Manassas Museum System Mariners’ Museum Martinsville-Henry County HS Mary Ball Washington Museum

Mathews County HS Matthews Living History Farm Museum Maymont Foundation Memorial Foundation of The Germanna Colonies, Inc. Middlesex County Museum Miles B. Carpenter Museum Monacan Ancestral Museum Montgomery Museum & Lewis Miller Regional Art Center Monticello Montpelier Center for Arts & Education Muscarelle Museum of Art Museum of Chincoteague Island Museum of the Confederacy Museum of the Middle Appalachians Museum of the Shenandoah Valley National D-Day Memorial Foundation National Firearms Museum, NRA National Museum of Americans in Wartime National Museum of the Marine Corps National Sporting Library & Museum Newtown History Center of the Stone House Foundation Norfolk Botanical Garden Norfolk Fire- Rescue Museum Norfolk Southern Museum Northern Neck Farm Museum Oatlands Plantation Ohef Sholom Temple Archives Old City Cemetery Old Coast Guard Station Pamplin Historical Park Patrick County HS Museum & Family Research Center Patsy Cline Historic House Petersburg Museums Piedmont Arts Portsmouth Museums Preservation Virginia Preservation Virginia, Isle of Wight Branch Prince George Regional Heritage Center Prince William County Historical Preservation Division Princess Anne County Training School / Union Kempsville High School Museum Radford University Art Museum Rappahannock HS Rawls Museum Arts Red Hill - Patrick Henry National Memorial Foundation Reedville Fishermen’s Museum Reuel B. Pritchett Museum

Longtime VAM members Fort Ward Museum & Historical Site, Virginia Living Museum, the Woodrow Wilson Presidential Library, and Historic Christ Church.

VAM reflects the deep culture, history, and artistic life in Virginia and D.C. Reynolds Homestead Richmond County Museum Riddick’s Folly Rockbridge HS Rockfish Valley Foundation RR Moton Museum Salem Museum & HS Schoolfield Museum & Cultural Center Science Museum of Virginia Science Museum of Western Virginia South Boston-Halifax County Museum of Fine Arts and History Southwest Virginia Museum Historical SP St. John’s Church Foundation Stonewall Jackson House Stratford Hall Plantation, Robert E. Lee Memorial Association Suffolk-Nansemond HS Sweet Briar College, Art Collection & Galleries Tangier History Museum Taubman Museum of Art The 1912 Gallery at Emory & Henry College The Executive Mansion The George Washington Foundation The Heritage Museum / Harrisonburg -Rockingham HS The Kinsale Foundation The Lyceum, Alexandria’s History Museum The National Civil War Chaplains Museum Town of Blacksburg Town of Wytheville, Department of Museums U.S. Army Quartermaster Museum U.S. Army Women’s Museum University Collections of Art & History, Washington & Lee University University Museums, University of Richmond University of Mary Washington Galleries University of Mary Washington’s Historic Preservation Department Vietnam War Foundation Virginia Aquarium & Marine Science Center Virginia Center for Architecture Virginia Civil War Trails Virginia Department of Historic Resources Virginia Historical Society

Virginia Holocaust Museum Virginia Institute of Marine Science, Aquarium, & Visitor Center Virginia Living Museum Virginia Museum of Contemporary Art Virginia Museum of Fine Arts Virginia Museum of Natural History Virginia Museum of the Civil War Virginia Museum of Transportation, Inc. Virginia National Guard HS, Inc. Virginia Quilt Museum Virginia Repertory Theatre Virginia Sports Hall of Fame Virginia War Memorial Education Foundation Virginia War Museum Virginia Zoological Park Visual Arts Center of Richmond Visual Arts Center TCC At Olde Towne VMI Museum Warren Heritage Society Warren Rifles Confederate Memorial Museum Warrenton Antiquarian Society Washington Heritage Museums Waterford Foundation Waynesboro Heritage Foundation Westmoreland County Museum & Library, Inc. William King Museum: Center for Art and Cultural Heritage Wilton House Museum / NSCDA-VA Wolf Creek Indian Village & Museum Woodrow Wilson Presidential Library

Thank you Volunteers!

VAM would like to thank our volunteers - who collectively donated over 3,500 hours of their time in FY 2013. Volunteers make everything we do possible. Volunteers make up our Governing Council and board committees, workshop committee, annual conference committees, and have helped make the Virginia Collections Initiative a reality.

VAM’s Governing Council meets during the 2013 Annual Conference. Photo by William Strollo.

Student 6%

Patron 4%

Who Makes Up Our Membership?

Museum 24%

Individual 52%

Business 14%

Thank you Patron Members!

Barbara Batson Bruce Boucher Gretchen Bulova Donald Buma Kent Chrisman Bruce Christian Audrey Davis

Diane L. Dunkley Lin Ezell Sean T. Fearns Tracy Gillespie Douglas Kent Harvey Mike Henry Anna Holloway

Judy Ison FrannMarie Jacinto Catherine Jordan Wass Twyla Kitts Mary Lague Melanie Leigh Mathewes Nancy Mcadams

Wi nte r 2 0 1 3

Melissa A. Mullins Jeanne Niccolls Robin Nicholson William B. Obrochta Robert Orrison Nancy Perry Robin Edward Reed

Kym Rice Gary Sandling Al Schweizer Robert C. Vaughan John H Verrill Charlotte Whitted

9

2012 - 2013 Annual Report, Continued Statement of Financial Position

Fundraising Expenditures 2%

*Modified Cash Basis

Management / Operational Expenditures 20%

Assets Current Assets FY2013

Cash & cash equivalents $31,954 Investments, at fair value $123,480

FY 2012

Total Assets

$116,767

$155,434

$5,518 $111,249

Program Expenditures 78%

Net Assets Unrestricted $146,583 Temporarily Restricted $8,851

Total Net Assets

$155,434

$115,211 $1,556

$116,767

How Does VAM Spend Your Money?

A Snapshot of VAM’s Reach in FY2013 Workshop attendees: 304 Online training participants: 51 Certificate program students: 145 Conference 2013 attendees: 331

Advocacy Day attendees: 30

Legislators reached: 95 VAM website page views: 198,369 Virginia’s Top 10 Endangered Artifacts

program page views: 102,000 VAM Job Bank page views: 24,000 Facebook followers: 1,400 Twitter followers: 2,300

Over the past 25 years The Curtis Group has worked with nearly 150 nonprofits, many of them arts and cultural organizations across the Commonwealth of Virginia.

We are a member of the Giving Institute, an organization dedicated to the ethical practice of fundraising. Our team is small enough that you work directly with the principals, but large enough to have a national presence and perspective. n

Fundraising planning studies

n

Board development and training

n

Campaign counsel and management

n

Planned giving counsel

n

Capacity-building counsel

n

Strategic planning and retreats

n

Development assessments

757.496.2224 | www.curtisgroupconsultants.com Facebook.com/thecurtisgroup

10

Twitter.com/thecurtisgroup

Getting the Most out of a Conference

by Christina Newton and Jennifer Thomas We all relish the chance to attend a conference. Unfortunately with decreasing budgets, many don’t get the chance very often. So when we do, it’s crucial to get the most value out of the experience. Conference sessions usually cover a range of topics.Look beyond the presenters or featured examples and think creatively about how the information can apply to you. For example, if you’re from a large-scale institution, don’t think that the volunteer run site doesn’t have something to teach, and visa versa. In the end, we all deal with the same operational issues to keep the doors open.

Time outside of the conference sessions is also important. Don’t pass up opportunities to meet and mingle, and expand your professional network. In the end you’ll be glad you did.

branch out and make connections, and take notes to share with colleagues who could not be there with you!

During the Conference

5

Be proactive. Speakers are experts in their fields and could probably speak for hours on the topic, so if you’d like to know more or narrow a point made, ask a question during the session or connect with the speaker afterwards.

6

Be open-minded. The best way to make your organization better is to think big, and bring in ideas from lots of sources. It may be true that your budget does not equal that of the largest institutions, but their innovative programming may be

Plan ahead. If you’d love to attend a conference but are unable to find the funds, check with the presenting organization about scholarships or volunteer opportunities to help reduce or cover the expense. Also check with local funders about opportunities such as technical assistance grants. Start early as these limited opportunities go fast.

Follow Up. We all meet new people at conferences and come home with a pile of business cards or new contacts in our smartphone. Send an email to that new colleague you met from a similar museum in another state or set up a coffee date with your colleague down the street. And don’t be shy.

Call one of the speakers and ask a question you thought of after his or her session. Speakers are just like you - excited about their field and happy to learn more and make new connections.

Read the Conference Program. It’s hard to create a conference schedule and event planners won’t be able to please everyone. For example, it’s likely that two sessions you wish to attend are held at the same time, so read the session descriptions in advance. Occasionally a session will not be as described in the print materials, but most of the time they are.

Read the details closely so you choose wisely and leave happy.

Don’t forget to bring business cards, brochures, and pens and paper or a laptop.

Use the conference as an opportunity to

Think about your career, not just your job.

You might not currently be able to use all of the information covered in a conference session, but learning more can help you become indispensable to your employer. And when you’re ready to make a change, some of your best connections might have started during a conversation in the exhibit hall or at a luncheon, with someone from a completely different type of site.

9

2

4

8

Program Updates

1

Remember your learning style. Think about how you learn. If you love discussions and hands-on activities, try a roundtable meeting or workshop. Some people prefer traditional presentations and lectures, with a chance to ask questions at the end.

Network. You hear this word used a lot, but how do you really do it? Ask questions of those you meet to learn more about them and find commonalities. Don’t be a wallflower and then be upset that you didn’t meet anyone. Put some “work” into networking - you’re all at the same event, so you’re already off to a good start!

Once You Get Back to the Office

Before You Hit The Road

3

7

10

adapted to your museum’s size or type. And don’t dismiss the scavenger hunt idea from the zoo educator just because you work at an art gallery. Animal paintings scavenger hunt, anyone? Sessions offer professional advice that you normally don’t have access to, so take advantage of the opportunity and start brainstorming!

Wi nte r 2 0 1 3

Have a post-conference meeting. If several staff from your museum went to the program, sit down and recap your experience. This will maintain the positive energy from the conference experience. Everyone leaves a conference exhilarated and rejuvenated; by sharing that enthusiasm with your colleagues back home, it is more likely to have a permanent effect on your museum. And if you’re the only one from your organization that was able to attend, it’s important to share your experience to help engage your team back home. Schedule a fun presentation and share your knowledge to get everyone involved, which just may help get you to your next conference! d

11

Virginia’s Top 10 Endangered Artifacts 2013

Photos, left to right: St. John’s Church’s Reverend Robert Rose Monument, 1751; MacArthur Memorial’s World War II Filipino and U.S. Guerrilla Unit Flag, circa 1940s; Edgar Allen Poe Museum’s Illustrations for “The Raven” by Artist James Carling, 1884. Thanks to the power of the media coverage, both St. John’s Church and the MacArthur Memorial have found interested benefactors to contribute funds to help conserve their one-of-a-kind artifacts. The Poe didn’t succeed in their Kickstarter campaign to conserve the James Carling illustrations, but are reaching out to those who pledged donations on the Kickstarter site and have already raised several thousands toward the project. We wish them and all of our honorees the best as they move forward to conserve their artifacts.

In September, we announced the honorees of the 2013 Virginia’s Top 10 Endangered Artifacts program, a campaign designed to create awareness of the importance of preserving artifacts in the care of collecting institutions such as galleries, museums, historical societies, libraries, and archives.

While it is not a grant-making program, it offers collecting institutions a platform upon which to raise media and public awareness about the ongoing and expensive care of the collections under their stewardship.

Part of the campaign included the opportunity for the public to cast votes in favor of their favorite endangered artifact, as well as to donate to the collecting institutions. In this year’s program, the public cast over 181,000 online votes - nearly doubling the number cast the first year of the project! Additionally, 2013 saw the emergence of similar ‘Top 10’ programs popping up in other states such as Oklahoma and Pennsylvania. In fact, The New York Times recently referenced these programs in an Arts and Design article on October 31, 2013 due to their innovative approach to increasing awareness of collections. Collecting institutions can gain a wealth of possibilities by participating, from increased media coverage to connecting with a broader audience and potential donors.

The 2013 honorees of the Virginia’s Top 10 Endangered Artifacts campaign are as follows:

Edgar Allen Poe Museum

Richmond, VA Illustrations for “The Raven” by Artist James Carling, 1884

Historical Society of Western Virginia

Roanoke, VA Water Works Map of Roanoke; Lithograph 1888

12

MacArthur Memorial

Norfolk, VA World War II Filipino and U.S. Guerrilla Unit Flag, circa 1940s

Montgomery Museum & Lewis Miller Regional Art Center Christiansburg, VA Rice D. Montague Account Book, circa 1860s

National D-Day Memorial

Bedford, VA 299th Combat Engineer Battalion Flag Flown at Assault on Utah Beach D-Day, 1944

Portsmouth Community Library & Black History Museum Portsmouth, VA Scrapbook of Portsmouth’s First African American Librarian, mid 20th c.

St. John’s Church

Richmond, VA Reverend Robert Rose Monument, 1751

The Old Jail Museum

Fauquier Historical Society Warrenton, VA Watercolor Painting of Warrenton During Civil War; Union Occupation November 14, 1862

Tudor Place Historic House and Garden Washington, D.C. Wedding Trunk from Martha Washington: A Gift to Her Granddaughter, 1795

William King Museum

Abingdon, VA Untitled Painting by Appalachian Folk Artist Minnie Ma Scyphers, circa 1970s *People’s Choice Honoree, with 63,894 online public votes If you want to learn more about Virginia’s Top 10 Endangered Artifacts, attend Meeting Your Museum’s Public Relations Goals through VAM’s Top 10 Endangered Artifacts Program at VAM’s Annual Conference on Monday, March 17, 2014. d

The DEA Museum

by Heather Widener

In July of this year, the Drug Enforcement Administration (DEA) Museum galleries in Arlington re-opened to the public following an extensive renovation and update to the exhibits. The Museum is open to the public free-of-charge Tuesday - Friday. I had the opportunity to speak with Sean Fearns, the museum’s director (and past VAM board member), about what is going on at the DEA Museum.

information from those eras and a Junior Special Agent kids activity. Also, three new LCD screens feature six to seven minutes each of looping video from each of three key eras of drug history (1930s-1950s, 1960s-1970s, 1980s-1990s). Additionally, interactive kiosks throughout the exhibit area add enrichment to the visitor experience.

Another important facet of the museum’s renovation is the extension of the main exhibit’s timeline rail and artifact cases to expand the history from 2013. Included in the extension are presentations of: meth-

vidual support (the museum has to be very careful about private sector support due to the DEA’s role as a regulatory agency – for example, they may not receive a corporate sponsorship from a pharmaceutical company). Indeed, with government budgets increasingly tight, these hybrid funding structures are becoming more common and more necessary than ever. The DEA Museum as a whole is a partnership between the US Drug Enforcement Administration and the DEA Educational Foundation, the private, non-profit educational organization established in 2001 that exists to support

Member Profile

Photos, left to right: Inside the DEA Museum. A portion of the renovated main gallery at the DEA Museum in Arlington, VA; Seeking Protection from God. Statue from the cult of Santa Muerte seized from drug traffickers in Mexico in 2011; Flying Under the Radar. An ultralight aircraft used to smuggle drugs across the U.S. Southwest border into California. Photos courtesy of the DEA Museum.

First, the renovation: the museum has updated their exhibit content, extended and deepened their interpretive exhibits, and completely renovated the space in which the museum is housed. The inspiration behind the recent exhibit renovation at the DEA Museum came when staff and foundation members visited The Hall of Opium in northern Thailand near the border with Laos and Burma in 2012. The Hall of Opium is a 50,000 square foot museum built into the side of a hill that used to be planted with poppies for the opium trade (which has been largely eradicated in Thailand).

After that trip came the move at the DEA Museum to make some real changes. By mid-2012, a plan was in place and with some help from end of fiscal year surplus and some funds raised by the DEA Educational Foundation, the museum re-opened its new and improved space in July of 2013.

amphetamine; club drugs; narco-terrorism and Afghanistan; marijuana; the Southwest border and drug tunnels; money laundering; prescription drugs; multi-agency/ multi-national operations; and synthetic drugs (ever heard of K2, “spice,” or “bath salts”?). Before the renovation, the ‘story’ told at the DEA Museum ended at 1998.

Now with the renovation complete, the exhibit area can accommodate “the next drug story” that is inevitably being written, when it is ready to be told. Additionally, the “new and improved” DEA Museum and its traveling exhibits offer teachers the opportunity to talk about the drug issue beyond traditional health and P.E. class, with tie-ins to geography, science, and more. Today’s focus on STEM (or STEAM) provides even more opportunity to expand into a variety of curricular areas.

Most notable in the renovation is the addition of new interactivity, including six new iPad stations, one in each of six key eras in drug history (1800s-1920s, 1930s-1950s, 1960s-1970s, 1980s, 1990s, 2000s-today).

These feature additional photographs and

The DEA Museum has developed several significant traveling exhibits, both domestically and internationally. Traveling exhibits have become possible through a mixture of government agency support (whether that be in the form of international, federal, or state agencies) and private sector and indi-

Wi nte r 2 0 1 3

the DEA Museum through fundraising, advocacy, educational outreach, exhibit support, and educational program development. While the museum relies on that crucial foundation support, it is mutually beneficial having a Federal agency such as the DEA in partnership with them.

The DEA Museum’s domestically traveling exhibit, entitled Target America: Opening Eyes to the Damage Drugs Cause is one that can help host sites (many times science museums) build relationships with segments of their communities they’ve never reached before. It has now been running strong for over a decade with stops at ten different museums. To ensure this kind of long-lived relevance, the exhibit was intentionally developed with a lot of evergreen content, but is also updated before opening in each city.

Back in 2001, Target America was originally developed as a 2,000 square foot traveling exhibit. Thanks to a once-in-a-lifetime opportunity to display the exhibit on the first three floors at #1 Times Square in New York City, the DEA Museum expanded the exhibit to 10,000 square feet. Conceptually, the exhibit expanded as well - to include a focus on all

13

The DEA Museum continued from page 13 of the costs of drugs in America, including the cost to inner cities, to children, to the environment, to the user’s body and brain, and to rural communities, just to name a few. The exhibit has traveled far and wide throughout the US – from Dallas to Tampa, Detroit to Los Angeles. What’s next for Target America? The exhibit will open at the MD Science Center in Baltimore in February 2014.

Based on Target America, the DEA Museum got a call from the U.S. State Department’s International Narcotic and Law Enforcement Affairs Bureau in 2010 asking them to develop a traveling exhibit in Afghanistan focusing on opium. Opium addiction rates are off the charts in the Afghan population as a whole, including children. In a country with little infrastructure and health care, opium is used almost as a “household drug.” Says Fearns, “We were honored to be asked by the State Department to assist with this education project, which focuses on prevention in an area of the world where most efforts to date have been focused around eradication of crop and treatment of addiction.”

Despite the fact that the exhibit has to withstand a war zone and harsh environmental conditions, and be able to be moved often (every three days, in fact, to avoid becoming a terrorist target), the DEA

Museum had to take into account the fact that illiteracy in Afghanistan is quite high.

Therefore the exhibit is extremely visual, and all writing that does appear on it is in Pashto and Dari. Street theater is used as part of the exhibit to impart the messages in culturally relevant ways. To make the exhibit speak to Afghan culture and resonate with its people, the museum worked with Afghan educators who have returned from working in the U.S. to their homeland in the post-Taliban era to help rebuild Afghanistan. These educators continue working with the exhibit throughout Afghanistan.

There is also no branding whatsoever on the exhibit, again to avoid it becoming a target. The exhibit is taken to schools, mosques, and other public venues where it remains for just three days at each location.

The first of these exhibits was displayed throughout Kabul. It was so successful that the State Department requested that two additional copies be developed for use in the northern Afghan province of Balkh, and in the western province of Herat. Unfortunately, the deadly violence – much of which stems from drug trade - in the southern provinces currently make that region too unstable to stage the traveling exhibit.

with officials in Thailand to develop a traveling exhibit focused on the recent onslaught of a drug called Yaba (pills that consist of 80% caffeine and 20% methamphetamine) in that country. The goal is to raise awareness, educate the public, and prevent abuse. The project is in its early stages.

If you see your colleagues from the DEA Museum at VAM’s upcoming conference in Alexandria, you can ask them about this exciting project! d

Would You Like to Visit the DEA Museum?

Join us for our 2014 Scholarship Reception at the DEA Museum Saturday, March 15th, 5:30 - 7:30 p.m.

100% of your $50 fee goes towards supporting conference scholarships. *First time attendees will receive TWO free tickets to the International Spy Museum in D.C. (a $42 value - while supplies last).

Currently, DEA Museum staff are working

• Flexible, Reusable System • Quickly Reconfigured • Easily Changeable Graphics • Provides Interpretive Space and Visitor Separation VaM Booth 21

MuseuMRails.coM 888.672.1890

14

Left stratford Hall stratford, Va Right early carolina Room Wilson special collections library uNc chapel Hill

Ask an Educator

Question: I am a museum educator heading into a traditional classroom setting to conduct an outreach activity. Help! What do I need in my “bag of tricks?”

With field trip budgets shrinking, there is an increased need for museum outreach in the classroom. We asked four expert museum educators what strategies they use for effective classroom outreach. Here’s what they had to say:

management is critical and there will be unusual circumstances that will force you to adapt your lesson. Always have a back-up plan.”

- Casey Polczynski, PhD, Art and Education Division, VMFA

“What is most problematic in being an outreach educator is unfamiliarity with the unique dynamics of the students, which is why I am going to tailor my response around a “bag of tricks” related to classroom management. Classroom management centers on the organization of materials, resources, space and students. Prepare all materials ahead for easy distribution. Plastic pencil cases, zip-lock bags, anything to aid in quick set up and packing up. I would assign two or three students who I would identify as my “Art Assistants” who would assist me with passing out and collecting resources. I would identify these students with a museum sticker or pin so I could easily locate them in the classroom. Secondly, I establish some sort of visual, verbal or kinesthetic cue at the beginning of my lesson especially if there is a hands-on art making component. I would tell students to be my echo (when I say “Eyes up!”) they repeat the same phrase in unison back to me. This gives the student the awareness that you need their attention and it saves your time and energy in being an effective outreach educator. Classroom

“Bring your enthusiasm to every program.

Depending on your program and the age group, I would bring reproductions, something tactile for the kids to look at or touch. You can also do an activity that is relevant to your topic and that gets the kids moving, like a role play. We try to relate the history or topic that they are learning to something that is familiar to them in the present.”

- Tramia Jackson, Director of Education & Public Programs, Fredericksburg Area Museum and Cultural Center “I have been a classroom teacher and have presented programs to students in a classroom setting and so always try to straddle that line when thinking about interpretation in a formal learning environment. My bag contains: substantive dialog with the teacher/administrator/organizer prior to the presentation to know what they expect; materials designed to appeal to as many of our senses as possible and appropriate; and a clear message of why the subject/situation/context/skill is important in the classroom and the world beyond it.”

Book Review

-Gary Sandling, Vice President of Visitor Programs and Services, Monticello “A solid program, patience, a sense of timing, and the ability to adapt to varied audiences.

A solid program will be based on considerable research, thoughtful compilation, and careful testing. You need to bring an academically meaningful program into the classroom that also engages students’ senses and inspires them to learn.

Assuming that the class is at the elementary level (where most museum programming reaches) you will need patience. You may encounter limited attention spans, behavioral issues, effects of illness, and any number of other distractions.

Teachers and students live by the clock and the bell, and you can’t fight either, so a good sense of timing is crucial. Rehearse the pacing of your presentation to fit comfortably within a typical class period (45-50 minutes).

Ability to adapt to varied audiences means being able to interact effectively with different racial/ethnic/religious combinations, as well as children with special needs.”

- Scott H. Harris, Director, James Monroe Museum and Memorial Library

by Jennifer Thomas

“We in museums need this book…Our profession has a long way to go in learning how to advocate for itself effectively and with a unified voice.” Ford Bell’s introductory remarks in this important resource guide from the American Alliance of Museums (AAM) says it all. Museum staff need to advocate for their museums, and they need to get better at doing it. Gail Silberglied, AAM’s director of government relations, makes the point that we are used to advocating every day—advocating for more money from donors, or for more field trips from schools.

mentions sending thank you notes early in the book, but hearing that same tip from Congressmen, staffers, and other museum professionals in those later chapters brings the message home loud and clear.

But there is a high level of discomfort that seems to enter the picture as soon as we think about talking to elected officials. This book sets out from the very first chapter to erase that discomfort. The language and layout are clear and concise, and every element of advocacy is broken down into bite sized pieces that even the most inexperienced museum volunteer can digest and build on.

If you have attended Museum Advocacy Day a few times, or are used to prowling the halls of the General Assembly talking about your museum, this book is not for you. But if you shy away from the idea of advocacy for fear that you might do it “wrong,” or you simply have no idea where to start, start with this book. It is a quick read, and a very valuable one.

You will learn the do’s and don’ts of advocating as a nonprofit, how to build relationships with elected officials and their staff, how to decode “Congress-speak,” and how to get board members involved in advocacy.

Silberglied also includes worksheets and questionnaires to help you get your thoughts organized and keep track of who your elected officials are and what you need to know about them.

The last section of the book incorporates tips and feedback from elected officials and museum professionals. Hearing them from people on both sides of the advocacy equation really cements the information, and highlights how small steps can make a huge difference. Silberglied

Interested in getting your feet wet with advocacy? Join VAM for our 4th annual Museum Advocacy Day at the General Assembly on January 16, 2014. Your presence will help us build relationships with Virginia’s elected officials, and show them how passionate we are about the impact and importance of museums. d

Wi nte r 2 0 1 3

15

President’s Corner

Dear Members & Friends,

As I write this column, I anxiously watch the Boston Red Sox take on the St. Louis Cardinals in Game 1 of the World Series. I’ve chewed on my fingernails and eaten every piece of chocolate in the house, all while wearing my Red Sox hat, jersey, and earrings (yes, earrings). Indeed, I am a Red Sox fan[atic], despite living in Virginia all my life. The rivalries throughout the postseason have remained fierce, and I admit to saying mean things about the other team. All this competition is exhausting me!

What does this have to do with VAM, and with museums in general?

Happily, it reminds me that fierce competition is not something we see in the museum profession. In fact, it’s the opposite. We want to help each other, and we’re good at doing it. It’s what VAM is all about.

Consider, for instance, what VAM offers to you to help advance your career in the museum profession. Our Job Board on our website lists current museum job openings. VAM staff will help you brush up your resume (and during our annual conferences, several members of VAM’s council are available to meet with you one-on-one to discuss your resume!). Professional development opportunities are offered by VAM on a year-round basis through workshops and our annual conference sessions. Last, but certainly not least, our Certificate Program and Advanced Certificate Program in Museum Management assist members who want to learn new skills or strengthen existing ones.

The first of its kind in the United States, VAM’s Certificate Program is now helping others outside Virginia by being a model for similar programs in other states.

management, the Virginia Collections Initiative can aid you with our Circuit Riders program that brings professionals right to your door, and with disaster planning workshops offered on a regular basis.

And VAM’s popular Top 10 Endangered Artifacts campaign continues to bring attention to specific artifacts in the collections of many of our member museums. We’re also good at getting the attention of our elected officials, as we gather each January in Richmond to appear before the Virginia General Assembly and remind them just how much of an impact our museums have on communities around the Commonwealth. VAM keeps us all up to date with legislation from the U.S. Congress as well.

Perhaps most importantly, the Virginia Association of Museums provides all of us members with the opportunity to network with one another. This is where we get the support and encouragement we desire, share the ideas we have, and yes, sometimes commiserate with one another when needed. We each make our museum profession one that is unlike many others – it’s friendly, open, caring, and fortunately not aggressively competitive. So, please continue to call on VAM for your professional needs (we’re happy to help!), and reach out a helping hand to your colleagues. It’s what sets us apart.

Now, if you’ll excuse me, I need to get back to the ballgame. GO SOX!** With my best wishes,

Tracy Tracy Gillespie President Virginia Association of Museums ** By the time you read this, the World Series will be over and you can either help me celebrate a Red Sox victory, or commiserate with me over their loss. Either way, a good box of chocolates will help….

In what other ways does VAM help its members? You’ll find technical assistance when you need it, just a phone call or an email away.

Have a question? Our staff will pair you with a museum professional that can help. If your question deals specifically with collections

Save the Date - VAM’s 2014 Annual Conference will be in Alexandria March 15th - 18th. Join us!