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INSIDE S E MC summer 2017 | www.semcdirect.net The Newsletter of the Southeastern Museums Conference
ON THE COVER The National Museum of African American History and Culture. Photo by Alan Karchmer.
7 Executive Director's Notes Susan Perry
7 Annual Meeting Keynote Speaker Dr. Jessica B Harris 14 REGISTRATION OPEN: SEMC 2017 NEW ORLEANS
Acclaimed author and culinary historian will present the food and foodways of the African Diaspora
JIMI LaPaglia Scholarship Recipient JIMI 2017 Graduates Shares Her Experience The 2017 SEMC Officers and Council
41 Museums Advocacy Day 2017 42 Southeastern Art Directors Gathering 44 SEMC Endowment
30 A Special Thanks Endowment and Membership Contributions
56 Congratulations 64 Exhibitions 70 Innovations 84 People and Places 90 What's Happening 92 Important Dates 93 SEMC Job Forum 93 Get Social with SEMC 93 SEMC Membership Form 94 Acquisitions
semc Alabama Arkansas Florida Georgia Kentucky Louisiana Mississippi
North Carolina South Carolina Tennessee Virginia West Virginia U.S. Virgin Islands Puerto Rico
staff Susan S. Perry Executive Director Jessica Keys Manager of Communications and Member Services
semc officers Darcie MacMahon President firstname.lastname@example.com Director of Exhibits & Public Programs, Florida Museum of Natural History, Gainesville, FL
Robin Seage Person Secretary firstname.lastname@example.com Branch Director, Historic Jefferson College, Washington, MS
contact semc SEMC | P.O. Box 550746 Atlanta, GA 30355-3246 T: 404.814.2048 or 404.814.2047 F: 404.814.2031 W: www.SEMCdirect.net E: firstname.lastname@example.com
Robin Reed Treasurer email@example.com Director, Casemate Museum, Fort Monroe, VA
David Butler Past President
Inside SEMC is published three times a year by SEMC. Annual subscription is included in membership dues.
firstname.lastname@example.com Executive Director, Knoxville Museum of Art, Knoxville, TN
Design: Nathan Moehlmann, Goosepen Studio & Press
The deadline for the Fall 2017 newsletter is October 4, 2017. To submit information for the newsletter, please contact the Council Director in your state.
semc directors Kyle Elizabeth Bryner
Elise LeCompte
Registrar & Collections Manager
Registrar & Asst. Dept. Chair,
Museum of the Shenandoah Valley,
Florida Museum of Natural History,
Winchester, VA
Gainesville, FL
Priscilla Cooper
Deborah Mack
Birmingham, AL
Assoc. Dir. Community & Constituent Services Smithsonian's National Museum of African American History and Culture, Wash., D.C.
Julie Harris
Catherine M. Pears
Executive Director, River Discovery
Executive Director, Alexandria Museum
Center, Paducah, KY
of Art Alexandria, LA
Brian Hicks
Deitrah J. Taylor
Director, Desoto County Museum,
Cultural Center Coordinator, The Cultural
Hernando, MS
Center, Georgia College and State University, Milledgeville, GA
Kathleen Hutton
Zinnia Willits
Dir. of Education, Reynolda House Museum
Dir. of Collections & Operations,
of American Art, Winston-Salem, NC
Gibbes Museum of Art, Charleston, SC
Jenny Lamb
Heather Marie Wells
Discovery Center at Murfree Spring,
Digital Media Project Manager, Crystal Bridges
Murfreesboro, TN
Museum of American Art, Bentonville, AR
experiences. Stand up as museum leaders and confront challenging social and political issues to inspire change in our communities.
executive director's notes Celebrate NOLA's art, history and culture at the SEMC 2017 Annual Meeting! Follow a traditional New Orlean's brass band and parade down Bourbon Street to the Louisiana State Museum's Presbytére on historic Jackson Square in the heart of the Vieux Carré. Experience NOLA's art and history museums at SEMC off-site workshops and evening events. The theme of this year's annual meeting is "art, history and culture in motion." Explore new ideas for community engagement, innovative technologies, inclusive interpretation, digital strategy, and transformative
Ignite innovative creativity, generate empathy, and renew your vision for the future of museums. Join the first equity and inclusion action team. Impact diverse audiences, foster equity, and encourage accessibility. Connect with museum colleagues networking at SEMC 2017. Tag your social media post with #SEMC2017! The NOLA Local Arrangements Committee has worked hard to plan three fun evening events, off-site tours, and programs. Join your colleagues for a keynote talk by culinary historian Jessica Harris. Jessica Harris, Ph.D., from New York University and English professor at Queens College, has written thirteen books, including her recent memoir entitled My Soul Looks Back and High on the Hog: A Culinary Journey from Africa to America, documenting the foods and foodways of the African Diaspora. Taste the culinary arts that make the NOLA experience unique. Museum leaders will gather for SEMC Leadership Forum in NOLA. In partnership with Museum Trustee Association, share ideas for fundraising and diversity across the museum. Get connected, transformed, and ignited. Join us to explore "art, history and culture in motion" at SEMC 2017 Annual Meeting September 11–13 in NOLA! — Susan Perry, Executive Director
art, history and culture in motion
new orleans, la 2017 semc september 11-13
art, history and culture in motion
new orleans, la 2017 semc september 11-13
JOIN US IN THE BIG EASY this September for the
SEMC 2017 Annual Meeting. New Orleans is one of America's most culturallyand historically-rich destinations, home to a unique melting pot of culture, food, and music. Experience the city's joie de vivre by following a traditional New Orleans brass band down Bourbon Street in SEMC's opening parade. Take in a live performance at one of the city's many jazz and blues clubs. Savor local cuisine and sip cocktails in some of the finest restaurants in the world. And don't miss exciting SEMC evening events that will highlight NOLA's many cultural and historical charms at the Louisiana State Museum's 18th century Presbytère, the New Orleans Museum of Art, the New Orleans Botanical Garden, the National WWII Museum, and the Ogden Museum of Southern Art. Shaped by the influences of French, Spanish, Anglo, African, and Caribbean people, New Orleans' diverse heritage makes the city the perfect place to explore this year's theme "Art, History & Culture in Motion." This year's programming focuses on diversity and inclusion to ignite new ideas for community engagement, innovative technologies, inclusive interpretation, digital strategy, and transformative experiences. Get energized with innovative creativity and connect with our communities, impact diverse audiences, foster equity, and encourage accessibility. SEMC's Program Committee invites you to meet us in New Orleans to share creative ideas and success stories, explore new directions and emerging trends in museums, and network with the most congenial and supportive group of museum professionals in the nation. We promise you'll be energized, enlightened, and entertained. Experience the joie de vivre of New Orleans. Join us to discover Art, History & Culture in Motion at SEMC 2017 Annual Meeting September 11-13 in NOLA!
PARTICIPANTS IN THE SEMC 2017 ANNUAL MEETING WILL EXPERIENCE: • Over 60 sessions and workshops on engaging diverse communities, equity and inclusion in educational programming, the challenges of digital preservation and access, evolving thoughtful leaders, developing strategic partnerships, emerging museum professionals, surviving PR nightmares, overcoming disaster, fundraising from new audiences, generating empathy, captivating audiences in the information age, making social media work for your museum, working with teen volunteers, inspiring the creative age, and igniting passion for museums • Session tracks geared to specific disciplines and interests help you get the most out of your conference experience • Keynote speaker is culinary historian Dr. Jessica Harris • Resource Expo with over 60 exhibitors • Evening Events at the New Orleans Museum of Art, the New Orleans Botanical Garden, the National WWII Museum, and the Ogden Museum of Southern Art • Private Walking Tours of the French Quarter, historic jazz sites and "back of town" community of Louis Armstrong's youth • A Pre-Conference parade following a traditional New Orleans brass band down Bourbon Street to the Louisiana State Museum's late 18th century Presbytère on historic Jackson Square • Behind-the-Scenes tours of the New Orleans Museum of Art, the Ogden Museum of Southern Art, the McKenna Museums • A Silent Auction to raise funds for scholarships to SEMC's 2018 Annual Meeting • Extensive Networking with your Southeastern museum colleagues
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IMPORTANT DATES June 16: SEMC Exhibition Competition deadline June 16: SEMC Publication Competition deadline June 16: SEMC Technology Competition deadline June 16: SEMC Scholarship Applications deadline July 12: Annual Meeting Early Registration deadline July 12: Resource Expo Early Registration deadline July 14: SEMC Awards Nomination deadline August 11: Hotel Room Block deadline
KEYNOTE SPEAKER We're excited to welcome Dr. Jessica B. Harris, expert on the food and foodways of the African Diaspora, as the SEMC 2017 keynote speaker. As noted on africooks.com, Dr. Harris was the inaugural scholar in residence in the Ray Charles Chair in African-American Material Culture at Dillard University in New Orleans where she established an Institute for the Study of Culinary Cultures. She has also been a professor of English in the SEEK Program at Queens College/C.U.N.Y. for almost five decades, and is a regular presenter at the annual Literary Festival in Oxford, England.
She has worked with Oxford/Brookes University and is also a Patron of the Oxford Cultural Collective. According to Heritage Radio Network, there's perhaps no greater expert on the food and foodways of the African Diaspora than Doctor Jessica B. Harris. She is the author of 13 critically acclaimed books documenting the foods and foodways of the African Diaspora including Iron Pots and Wooden Spoons: Africa's Gifts to New World Cooking; Sky Juice and Flying Fish Traditional Caribbean Cooking; The Welcome Table: AfricanAmerican Heritage Cooking; The Africa Cookbook: Tastes of a Continent; and Beyond Gumbo: Creole Fusion Food from the Atlantic Rim. Harris also conceptualized and organized The Black Family Reunion Cook Book. Her book High on the Hog: A Culinary Journey from Africa to America, was the International Association for Culinary Professionals 2012 prize winner for culinary history. Her most recent book is My Soul Looks Back: A Memoir. After a warm welcome to New Orleans and the brief business meeting, join your colleagues for a keynote talk by culinary historian Dr. Jessica B. Harris. Comments and questions from the audience will be encouraged.
ANNUAL MEETING SCHOLARSHIP OPPORTUNITIES SEMC is proud to offer a number of Annual Conference Travel Scholarships. The SEMC Scholarships are valued at $800 and include the Conference registration ($300) plus a $500 travel stipend. Those eligible for SEMC Travel Scholarships are: • • • • •
Students Emerging Museum Professionals Seasoned Museum Professionals Historic House Professionals African American Museum Professionals (AAAM members are encouraged to apply) • Small Museum Professionals (annual operating budgets less than $500,000) The scholarship application deadline is Friday, June 16, 2017. Visit SEMCdirect.net for details and application.
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ANNUAL MEETING COMPETITIONS SEMC will recognize the winners of its annual competitions at the Annual Awards Luncheon in New Orleans, September 12, 2017. Competition details and guidelines as well as how to submit an entry can be found at SEMCdirect.net. Entries are due June 16, 2017. Good luck to all who enter! SEMC PUBLICATION COMPETITION The SEMC Publication Design Competition began in 1988 to recognize and reward excellence in graphic design in Southeastern museum publications. The competition encourages communication, effective design, creativity and pride of work, and recognition of institutional image and identity. Winning entries will be displayed at SEMC 2017 NOLA, and featured in the fall issue of Inside SEMC. CURCOM EXHIBITION COMPETITION The SEMC Curators' Committee is committed to promoting excellence and professionalism
in museums within the region. The Exhibition Competition focuses attention on exhibitions of merit that are well designed, have educational value and treat objects with care and respect. The competition showcases the best in our profession and provides benchmarks for regional exhibition efforts in southeastern museums. Winning exhibitions are announced at the SEMC 2017 Annual Awards in New Orleans and featured in the fall issue of Inside SEMC. The competition has four categories: Exhibits with budgets under $10,000, under $25,000, over $25,000, over $100,000; and $1,000,000 or more. Inquiries should be addressed to Denise Drury Homewood at firstname.lastname@example.com. TECHNOLOGY COMPETITION The SEMC Technology Competition began to recognize and reward excellence in the use of technology by Southeastern museums. The competition encourages innovation, effective design, accessibility, creativity and pride of work, and recognition of institutional identity. Winning entries will be displayed at SEMC 2017 NOLA and featured in the fall issue of Inside SEMC.
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SPOTLIGHT ON STUDENT WORK IN MUSEUMS (SWIM) This year SEMC's popular Spotlight on Student Research Competition has been renamed Spotlight on Student Work in Museums (SWIM), and will be part of an awards program designed to recognize excellence in museum work done by students in two formats. SWIM will consist of a program session with four ten-minute presentations at SEMC's annual meeting in New Orleans, LA. However, SEMC will also showcase additional student projects formatted as posters in a display area at the conference, which the students will staff on Tuesday, September 12, 10:45 to noon. All students selected for the four session slots or the poster presentations will receive a certificate in recognition of their achievements. SWIM proposals must present work done by a student or group of students for a Southeastern museum as part of an internship, employment (paid or unpaid), or class project. Candidates or recent graduates of a bachelor's, master's or Ph.D. program are eligible to submit proposals; the SWIM committee will jury undergraduate and graduate proposals separately. Group proposals must include names, majors, and intended
degrees of all group members, but designate one person as the primary session contact. Support materials may include documents, photographs, and links to websites that feature your work products. All presenters are responsible for their own Annual Meeting registration fees and travel costs. Students are encouraged to apply for SEMC scholarships and learn more at SEMCdirect.net.
SEMC ANNUAL AWARDS PROGRAM Creativity, innovation, and leadership proliferate in museum professionals throughout the Southeast. The SEMC Awards Committee needs your help to identify and honor outstanding colleagues who have helped shape the world of museums. The awards will be presented as part of the Annual Business Meeting/Awards Luncheon in New Orleans. Awards Committee Coordinator Julie Harris urges all SEMC members to take a few moments to consider those worthy friends, colleagues and mentors who, through their work with museums and their activities in museum associations, have provided
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exemplary service to the southeastern museum community. It's easy to submit your entry online at SEMCdirect.net. To nominate someone for an SEMC Award, please include: • • • • • •
Nominee name & contact information Nominator name & contact information Name of the award Summary of the nominee's accomplishments Two support letters Support materials such as the nominee's current CV, honors, etc.
JAMES R. SHORT AWARD SEMC's highest honor. Recognizes individuals who have given a lifetime (20+ years) of distinguished service to the museum profession. MUSEUM LEADERSHIP AWARD Recognizes mid-career museum professionals (10+ years) who have shown significant advancement within the profession by leadership in museum activities.
DISTINGUISHED CONTRIBUTOR AWARD Recognizes a non-museum professional who has contributed his or her leadership expertise, financial support or collections support over a period of 20 years or more to a museum or the museum field in the SEMC region.
GET INVOLVED AT THE SEMC 2017 ANNUAL MEETING CAREER CENTER RESUME REVIEWER Experienced museum professionals are needed to advise, and to review and critique job-seekers' resumes at the Annual Meeting Career Center. Those seeking advice or those willing to serve as advisers will need to share the following:
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EMERGING MUSEUM PROFESSIONALS AWARD Recognizes emerging professionals (2-10 years) who have demonstrated excellence and leadership in museum activities at his or her institution.
OUTSTANDING SERVICE TO THE MUSEUM PROFESSION AWARD Recognizes a leader with 10 years or more of service to an allied or affiliated professional organization.
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SEMC SILENT AUCTION Showcase your museum or share your hobby and support SEMC by donating an item for our Silent Auction! All proceeds will be used to fund 2018 Annual Meeting Scholarships. Download a donation form a SEMCdirect.net or contact Silent Auction Coordinator Jenny Lamb at firstname.lastname@example.com.
LEADERSHIP FORUM Join us for Leadership Forum in New Orleans, LA. In partnership with the Museum Trustee Association (MTA), SEMC 2017 Annual Meeting will offer a Trustee-Director track of programs that explore issues that matter to museum leaders. SEMC Leadership Forum opens with a Trustee-Director reception on Tuesday evening, September 12, at the Odgen Museum of Southern Art. Trustee-Director luncheon and programs will be on Wednesday, September 13, at the Astor Crowne Plaza Hotel. Trustee-Director luncheon will be an opportunity to network and learn from your colleagues and trustees. Learn from leaders in the field about the following topics: • Diversity Across the Museum: Staff, Trustees, Exhibitions & Programs • More Than Child's Play: How the Louisiana Children's Museum Raised Millions for its Extraordinary Early Learning Village Share ideas and vision with fellow museum leaders. Single Day registration ($100) for museum trustees includes the Trustee-Director Luncheon, programs, and private reception. Register Now.
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SPECIAL SESSION TRACKS EDUCATION AND COMMUNITY ENGAGEMENT We've planned a host of sessions geared to museum educators and community collaborators, no matter what type of museum you're involved with. Engaging Underrepresented Communities in Local History; A Sensory Sensation: Museum Programs for the Spectrum; Making Connection in the Creative Age: Engaging Older Adults at Your Institution; and Let's Be Friends: Museum Collaborations to Create Diverse Communities are just some of the on-site sessions. Or go off-site for the EdCom Tour of The National WWII Museum: Going the Distance in Museum Education to discuss how your institution can create, implement, and grow
distance learning programs. And don't miss the EdCom luncheon where you can network with your peers and discuss the needs of your volunteers. COLLECTION CARE/REGISTRARS Learn about Advances in Disaster Response for Collections since Hurricane Katrina as well as Facing the Challenges of Digital Preservation and Access, or be a contestant on the Wheel of Misfortune to explore museum mishaps and disasters in a fun way! Go behind the scenes with SERA at the New Orleans Museum of Art, and relax with your peers for a night of fun at Tiki Tolteca at the annual SERA Registrars Respite. FUNDRAISING & MEMBERSHIP Looking for new ideas to amp up your fundraising and development efforts? Consider attending Membership Reboot: Redesigning Your Program; Funding From New Audiences; or More Than Child's Play: How the Louisiana Children's Museum Raised Millions for its Extraordinary Early Learning Village. TECHNOLOGY Want to add more technology to your museum? Discover the latest innovations with Tablets
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in the Galleries: More Attainable than You Might Think; Your Digital Project Planning Packet; or attend the Technology Showcase. GENERAL Attend Masterplanning for the Changing Future; Building Codes and Accessibility: What are Your Responsibilities as a Museum?; You Can Close Your Eyes…But the Problem Won't Go Away; or Demystifying Design: How to Read Architectural Drawings to learn more about how to develop a living masterplan true to your mission and adaptable to change, construction projects, security, and more. DIRECTOR/TRUSTEES/ADMINISTRATION SEMC 2017 Annual Conference will offer a Trustee-Director track of programs that explore issues that matter to museum leaders. SEMC Leadership Forum opens with a TrusteeDirector reception on Tuesday evening, September 12, at the Odgen Museum of Southern Art. Trustee-Director luncheon and programs will be on Wednesday, September 13, at the Astor Crowne Plaza Hotel. Learn more from leaders in the field about diversity and inclusion in museum staff and programming,
how to activate untapped resources to expand your institutional mission, and how to maintain public trust at sessions like Diversity Across the Museum: Staff, Trustees, Exhibitions & Programs, Creating Opportunity to Leverage Your Institutions Assets, and Museums, Ethics, and the Public Trust. EMERGING MUSEUM PROFESSIONALS Jump-start your career with SEMC 2017 networking opportunities and sessions like Millennial Program Development: Exploring Options, and EMPs in the Round: A Discussion for Emerging Museum Professionals. There's a special EMP meet-up at 21st Amendment, a bar that pays tribute to the Prohibition era in U.S. history where you can network and make new friends during happy hour. And don't forget to submit a proposal for Spotlight on Student Work in Museums (SWIM) by June 16, 2017. MARKETING & COMMUNICATIONS Your institution's brand has never been more important. Explore the latest in marketing and communications with Reimagining the Gibbes: A Rebranding Odyssey and Beyond the Basics: Making Social Media Work for You. Hear
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how other institutions have responded to public relations challenges and controversies at PR Nightmares: Responses to Negative Publicity and Controversy, or learn about the pros and cons of Hollywood stardom for your museum during Museums Do Hollywood: The Good, the Bad, and the Ugly. HISTORIC HOUSES Kick off the conference with HHMAG's annual Hands-On Project. This year they're headed to the Beauregard-Keyes House and Garden Museum and Hermann-Grima House. On-site sessions include Contributions on Every Corner: Engaging Underrepresented Communities in Local History and When the Historical is Personal: Interpreting Decorative Arts in Private Homes. Head off-site to the Williams Research Center for Interpreting Slavery in the 21st Century. Meet up with your colleagues at the HHMAG Luncheon & Business Meeting.
EXHIBIT DESIGN & CURATORIAL Developing a new exhibit? Reimagining an old space? On-site sessions like Walk This Way: Planning Exhibit Spaces and Exhibition Lighting Design 101: Conquering Darkness with Truth and Beauty offer hands-on explorations of design and content to create inviting spaces for visitors. Or learn about the complexities of curation and the necessity of collaboration to embrace culturally inclusive perspectives in this year's curatorial research session Curatorial Voice, Collaboration & Cultural Pluralism. Head off-site and tour the Ogden Museum of Southern Art to discuss the process behind curating the museum's most recent permanent collection exhibition, or join representatives from museum education, curation, and exhibit design while visiting a local museum's exhibit at this year's exhibit review.
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JIMI 2017 Class: first row, l-r: Carla Thomas McGinnis, Smithsonian National Museum of African American History and Culture, Washington, DC; Katherine Steiner, Mint Museum, Charlotte, NC; Amanda Vtipilson, U.S. Army Women's Museum, Fort Lee, VA; Vanessa Thaxton-Ward, Hampton University Museum, Hampton, VA; Kyle M. Stetz, James Madison's Montpelier, Orange, VA. second row, l-r: Rae Mathis Guess, Oren Dunn City Museum, Tupelo, MS; Lovella Singer, Dora Nelson African American Art & History Museum, Perris, CA; Gloria Sanders, Calico Rock Museum, Calico Rock, AR; Jennifer Rebuck Ghabrial; The Historic New Orleans Collection, New Orleans, LA; Shelby D. Henderson, Bertha Lee Strickland Cultural Museum, Seneca, SC; Megan Cook, Mississippi Dept. of Archives and History, Jackson, MS; Gemma R. Birnbaum, The National WWII Museum, New Orleans, LA. third row, l-r: Alexander V. Benitez, Moundville Archaeological Park, University of Alabama, Moundville, AL; Judy Costello, Shiloh Museum of Ozark History, Springdale, AR; Holly Akkerman, Telfair Museums, Savannah, GA; Anne Pratt, Red Skelton Museum of American Comedy, Vincennes, IN. fourth row, l-r: Jeffrey L. Bowdoin, Naval History and Heritage Command, Washington, DC; Brent Björkman, Kentucky Museum/Western KY University, Bowling Green, KY; Michael E. Moore, House in the Horseshoe State Historic Site, Sanford, NC; Robert Byer, Washington, DC.. 31
CONGRATULATIONS to the JIMI Class of 2017, consisting of participants from Alabama (1), Arkansas (2), California (1), Georgia (1), Indiana (1), Kentucky (1), Louisiana (2), Mississippi (2), North Carolina (2), South Carolina (1), Virginia (3), and Washington, DC (3).
state associations of Arkansas (Gloria Sanders, Calico Rock Museum, Calico Rock), Mississippi (Carol Messer, Ohr-O'Keefe Museum of Art, Biloxi), North Carolina (Michael E. Moore, House in the Horseshoe State Historic Site, Sanford), and South Carolina (Shelby D. Henderson, Bertha Lee Strickland Cultural Museum, Seneca). The Peter S. LaPaglia JIMI Scholarship was awarded to Judy Costello, Shiloh Museum of Ozark History, Springdale, AR.
This year marks the first of a renewed 3-year partnership with the Smithsonian's National Museum of African American History and Culture (NMAAHC), Association of African American Museums, and SEMC to sponsor two scholarships and travel stipends for AAAM members. The two John Kinard scholarship awardees were Carla Thomas McGinnis, Smithsonian's National Museum of African American History and Culture, Washington, DC and Vanessa Thaxton-Ward, Hampton University Museum, Hampton, VA.
Gaylord Brothers provided one scholarship which was awarded to Amanda Vtipilson, U.S. Army Women's Museum, Fort Lee, VA. John and Cynthia Lancaster provided a full scholarship to Megan Cook, Mississippi Dept. of Archives and History, Jackson, MS. A fundraising campaign conducted by Joshua E. White (JIMI Class of 2012) garnered four additional scholarships that were awarded to Holly Akkerman, Telfair Museums, Savannah, GA (JIMI
Scholarships and/or travel stipends were provided by the
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Alumni); Anne Pratt, Red Skelton Museum of American Comedy, Vincennes, IN (Lisa Chastain Memorial)*; Lovella Singer, Executive Director, Dora Nelson African American Art & History Museum, Perris CA (JIMI Class of 2016); and Katherine Steiner, Mint Museum, Charlotte (NC JIMI Alumni) *Lisa Chastain (JIMI Class of 2014) died unexpectedly; classmates and friends donated to provide funds for a scholarship in her name. Other major JIMI partners include Satilla Computer Solutions, St. Marys, GA (pizza lunch, plus travel stipend to Amanda Vtipilson); Re:discovery Software, Inc., Charlottesville, VA (collections management session), Malone Design/Fabrication, Decatur, GA (binders), Aaron Berger (JIMI 2017 Merriment Sponsor), and Goosepen Studio & Press, Hickory, NC (production of the JIMI alumni newsletter). Major sponsors are the Jekyll Island Museum and Historic Properties, LaPaglia Companies, Durham, NC, North Carolina State Historic Sites, Raleigh, NC, and
the Southeastern Museums Conference, Atlanta, GA. An activity that has proved to be very popular is drawing for t-shirts, hats, mugs, tote bags, and other assorted "bling" provided by JIMI alumni, affectionately known as "JIMI-kins." Donations this year were provided by: Timothy A. Barber (JIMI Class of 2016) The Black Archives History & Research Foundation of South Florida, Inc. Miami, FL Stephen Charla (JIMI Class of 2006) The National Archives of Philadelphia Philadelphia, PA Christian J. Cotz (JIMI Class of 2016) James Madison's Montpelier Orange, VA Schelly Corry (JIMI Class of 2015) Cook's Natural History Museum, Decatur, AL
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Melissa Parris (JIMI Class of 2016) Muscarelle Museum of Art College of William & Mary Williamsburg, VA
SGT Gary C. Spencer (JIMI Class of 2016) North Carolina National Guard Museum & Learning Center of Excellence JFHQ-NC Raleigh, NC] Matthew J. Edwards (JIMI Class of 2013) Mount Airy Museum of Regional History Mount Airy, NC Ken Gaddy (JIMI Class of 2003) Paul "Bear" Bryant Museum University of Alabama Tuscaloosa, AL Toni L. Hiley (JIMI Class of 2004) CIA Museum Washington, DC Erika Katayama (JIMI Class of 2013) San Diego Museum of Man San Diego, CA
Keith F. Post (JIMI Class of 2013) St. Marys Submarine Museum St. Marys, GA Tania Said Schuler (JIMI Class of 2004) David Owsley Museum of Art Ball State University, Muncie, IN Michael Simons (JIMI Class of 2012) Alice Donahue (JIMI Class of 2012) National Electronics Museum Linthicum, MD 21090 Stacey Thompson (JIMI Class of 2015) The Morris Museum of Art Augusta, GA
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We opened the awards banquet to all JIMI alumni, and three people paid to attend and support the new graduates — Dr. Deborah Mack, Smithsonian's National Museum of African American History and Culture (JIMI Class of 2011), Keith Post, CEO of Satilla Computer Solutions (JIMI Class of 2013), and Joshua E. White (JIMI Class of 2012). In addition to Darcie MacMahon, SEMC President, Susan Perry, SEMC Executive Director, also participated, giving a warm congratulatory speech to the class and reminding them of upcoming SEMC activities. Susan then joined JIMI Administrator Martha Battle Jackson and JIMI Facilitator John Lancaster in handing out awards, JIMI pins, and certificates. Afterwards, the newly minted "JIMI-kins" regrouped at the hotel hot tub and enjoyed adult beverages and snacks purchased with funds provided by JIMI alumni. A couple of brave souls braved the chilly waters of the Atlantic Ocean to keep the JIMI Polar Bear Club alive!
JIMI LaPaglia Scholarship Recipient Judy Costello shares her JIMI Experience The 2017 Jekyll Island Management Institute (JIMI) was a very good experience for me. I was honored to be selected to attend JIMI and to be the first Arkansan to receive the Peter S. LaPaglia JIMI scholarship. Basically JIMI is a crash course in Museum Studies — very intense and no nonsense. I would recommend the program for anyone fairly new to the museum profession for sure, and any others (as in everyone) who need a refresher on what everyone else at their museum is involved in. It is a good experience for putting one's job in perspective. I arrived in the museum field by a circuitous route which did not include any formal museum training. Though I felt competent at my job, JIMI gave me many more tools to work with so I left the island with more energy and confidence. My greatest takeaway from JIMI was the emphasis on museums as Public Trusts. I think I could find that theme in every session. I now more consciously think of all that I do in light of how it affects the public's trust in my museums (I am paid staff at one and volunteer at another).
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During the 10 days spent at JIMI my mind was constantly thinking of ways to implement what I was learning. One of the first things I did after JIMI was to start a new education program for our teenage volunteers to give them experience in varied aspects of museum careers. I am constantly drawing on best practices and information which was taught at JIMI to share directly with these volunteers as they work to inventory a collection and set up an exhibit. The end of February, I shared opportunities associated with JIMI with museum professionals who had never heard of the program at the Arkansas Living History Association (ALHA) annual conference. In March, I oversaw a panel discussion on fundraising at the Arkansas Museums Association (AMA) annual conference. Another former JIMI attendee shared a nugget of information she had learned at JIMI several years ago — not only did she remember it, but it was still quite relevant, which seems par for much of the information taught at JIMI — relevant and memorable. As a JIMI graduate, I feel more confident to contribute to Museum Board discussions, committee meetings, and conferences. I admit I spent every bit of my spare time on the beach or in the historic district. Basically that spare time was from sunup (7:20 range) to first session start time (average 8:30 am). All other free time was meal time or social gathering time when we were expected to network with other participants and I am happy that was the case. There
were great people there with lots of museum stories and knowledge. Jekyll Island offers great Southern hospitality, relaxation, and historical interest to add to the wealth of information shared at JIMI.
Announcing JIMI 2018 Applications Due October 15, 2017 The Southeastern Museums Conference (SEMC) proudly announces the 18th annual Jekyll Island Management Institute (JIMI 2018). Scheduled for January 16 - 23, 2018, JIMI is specifically designed for administrators from new and emerging museums and for museum professionals with subject area expertise desiring knowledge of general museum administration and operations. The deadline for JIMI 2018 applications is October 15, 2017. Located on historic Jekyll Island, GA, this highly successful training program provides a unique eight-day immersion for museum professionals seeking the opportunity to learn management, personnel and interpretive skills from leading experts. Sessions include management styles, administration and trusteeship, strategic planning, fundraising and marketing, technology, developing exhibits, public relations, collections management, disaster pre-
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paredness, interpretation, volunteer management, and museum ethics. Through the generosity of friends and colleagues of the late Peter S. LaPaglia, the Southeastern Museums Conference (SEMC) and the Jekyll Island Management Institute (JIMI) are pleased to offer the Peter S. LaPaglia JIMI Scholarship to cover the cost of tuition. Several state associations in the region, including the Arkansas Museums Association, North Carolina Museums Council, Mississippi Museums Association, and South Carolina Federation of Museums, offer scholarship and/or travel assistance to its members. In addition, John and Cynthia Lancaster offer scholarship assistance to a member of the Tennessee Association of Museums. Thanks to the generosity of the Smithsonian's National Museum of African American History and Culture (NMAAHC), the Southeastern Museums Conference (SEMC) is pleased to offer the John Kinard Scholarship Fund for two staff members of AAAM institutional museums or individual AAAM members to attend SEMC's Jekyll Island Management Institute (JIMI). The two annual scholarships of $1,625 each will cover the tuition for JIMI and travel expenses. The John Kinard Scholarship Fund is established in collaboration with the Smithsonian's National Museum of African American History and Culture (NMAAHC). Created by an Act of Congress in 2003,
the museum opened on the National Mall in Washington, D.C. in the Fall of 2016. For information on the museum's current programs and exhibitions visit www.nmaahc.si.edu or call 202.633.4751. Please note AAAM membership on your JIMI application. This scholarship is not available to employees of the Smithsonian Institution. Applications for JIMI and the Peter S. LaPaglia JIMI Scholarship are currently available at the website address shown below, with an October 15, 2017, deadline for submitting applications. JIMI is an SEMC program sponsored by Goosepen Studio & Press, Jekyll Island Museum and Historic Preservation, LaPaglia Companies, and North Carolina Division of State Historic Sites and Properties. In addition, we thank the following companies for partnering with us for JIMI 2017: Gaylord Brothers, Inc. Malone Design & Fabrication Re:discovery Software, Inc. Satilla Computer Solutions For additional information, contact Martha Battle Jackson, JIMI Administrator, 919.733.7862, ext. 236, firstname.lastname@example.com; John Lancaster, 615.210.7933, firstname.lastname@example.com; or, Susan Perry, Executive Director, SEMC, 404.814.2048, email@example.com or, download an application at www.semcdirect.net.
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SEMC 2017 OFFICERS AND COUNCIL Officers
Terms expire October 2017
Terms expire October 2018
Catherine M. Pears (1st term)
Elise LeCompte (1st term)
Darcie MacMahon
Executive Director
Registrar and Asst. Dept. Chair
Director of Exhibits & Public Programs
Alexandria Museum of Art
Florida Museum of Natural History
Florida Museum of Natural History
933 Second Street
Gainesville, FL 32611
Gainesville, FL 32611
Alexandria, LA 71301
Kathleen Hutton (2nd term)
Digital Media Project Manager
Robin Seage Person (2nd term)
Director of Education
Crystal Bridges Museum of American Art
Branch Director
Reynolda House Museum of American Art
600 Museum Way
Historic Jefferson College
2250 Reynolda Road
Bentonville, AR 72712
PO Box 700
Winston Salem, NC 27106
Washington, MS 39190
Heather Marie Wells (2nd term)
Jenny Lamb (1st term)
email@example.com Zinnia Willits (1st term)
Discovery Center at Murfree Spring
Director of Collections and Operations
502 SE Broad Street
Gibbes Museum of Art
Murfreesboro, TN 37130
Robin Reed (2nd term)
135 Meeting Street
8760 Central Pike Mt
Charleston, SC 29401
Juliet, TN 37122
Fort Monroe Casemate
20 Bernard Road Fort Monroe , VA 23651
Deborah Mack (1st term)
Associate Director Community & Constituent Services Smithsonian's National Museum
Past President
of African American History
David Butler
and Culture Washington, D.C.
Executive Director
Knoxville Museum of Art 1050 World's Fair Park
Kyle Elizabeth Bryner (partial term)
Knoxville, TN 37916-1653
Registrar & Collections Manager
Museum of the Shenandoah Valley 901 Amherst Street Winchester, VA 22601 email@example.com|
Terms expire October 2019 Brian Hicks (2nd term)
Julie Harris (2nd term)
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Desoto County Museum
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111 East Commerce
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SEMC ENDOWMENT Consider a contribution to the SEMC William T. and Sylvia F. Alderson Endowment Fund. Join us at the SEMC 2017 Annual Meeting for the launch of the Endowment Gift Campaign to reach $400,000 and recognition of our donors. A donation of $100 contributes to the financial stability of SEMC in the future. The growth of SEMC's endowment is essential to ensure that our organization will be able to provide scholarships and educational programs in the Southeast. Please make your check payable to SEMC and send to: SEMC Endowment, PO Box 550746 Atlanta, GA 30355-3246. If you would prefer to use a charge card you can donate from the "Support SEMC" page of our website, SEMCdirect.net.
2017 MUSEUMS ADVOCACY DAY With recent policy issues threatening America's museums, more than 380 members and supporters of the museum community traveled to Washington, D.C. in February for the ninth annual Museums Advocacy Day organized by the American Alliance of Museums (AAM). This year a record-breaking number of more than 100 Southeastern museum professionals were among the advocates that visited House and Senate offices on Capitol Hill to discuss the powerful economic, educational, and community impact museums make on local and national levels. Museum Advocacy Day events included the Congressional Awards, presented by the Alliance to members of Congress who have demonstrated exemplary support for museums. The 2017 Congressional Honorees are Rep. Carolyn Maloney (D-NY), and the Southeast's own Sen. Thad Chochran (R-MS), who demonstrated exemplary museum support as an original cosponsor of legislation to reauthorize the Institute of Museum and Library Services, and was instrumental in helping Mississippi museums recover from Hurricane Katrina. The Alliance also recognized longtime museum
trustee and community advocate Margaret Benjamin as the 2017 Champion of Museums, an award presented to museum trustees who have demonstrated leadership and service by advocating for their institution and for the museum field. Benjamin serves on the board of the Weatherspoon Art Museum at the University of North Carolina, Greensboro, and is vice chair of the Museum Trustee Association. Benjamin has demonstrated outstanding leadership and service as a museum trustee by engaging policymakers and public officials at all levels of government to advocate for museums' overall value and essential role in their communities. Overall, AAM helped connect museum advocates from all over the country with 420 Congressional and Senate offices to meet about issues facing the museum community, marking this year's participation in Museums Advocacy Day more than 50% higher than a year ago and the first time an advocate from each of the 50 states was scheduled to make visits on Capitol Hill. Recent bipartisan and bicameral support from the House and Senate appropriations committees illustrate that your efforts really do matter! 42
SEMC Past President David Butler, Executive Director Susan Perry, and President Darcie MacMahon attended a special Smithsonian reception for partnering organizations at the new National Museum for African American History & Culture.
Congressional Advocacy Award winner Senator Thad Cochran (center) with Betsy Bradley and Brian Hicks from Mississippi.
Museum Advocacy Trustee Award Winner Margaret Benjamin (center) with Susan Perry and Mary Baily Wieler with MTA. 43
SOUTHEASTERN ART DIRECTORS GATHERING Southeastern Art Museum Directors (SEAMD) hosted by the Virginia Museum of Fine Arts gathered in Richmond. At the Virginia Museum of Fine Arts, they attended the opening of Yves Saint Laurent: The Perfection of Style and a lecture by Florence Müller as well as toured the David & Susan Goode Conservation Center and
Education Center. They had a hard-hat tour of Virginia Commonwealth University's Institute for Contemporary Art. In Williamsburg, they toured Muscarelle Museum of Art at The College of William & Mary with director Aaron DeGroft and the Art Museums of Colonial Williamsburg. SEAMD gathering ended at Upper Shirley.
Southeastern Art Museum Directors gathering at Virginia Museum of Fine Art in Richmond
SEAMD hard-hat tour of Virginia Commonwealth University's new Institute for Contemporary Art.
SEAMD attendees gather in the evening.
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A SPECIAL THANKS SEMC Endowment Contributions Many thanks to our endowment contributors for investing in the future of SEMC! When you are thinking of honoring or remembering someone, please consider a contribution to the SEMC endowment. For more information, contact Executive Director Susan Perry at 404.814.2048 or email@example.com. John M. Gause Dawn Deano Hammatt Julie Harris Brian Hicks Kathleen F.G. Hutton Elise V. LeCompte William D. Paul, Jr. Robin Seage Pearson Heather Marie Wells Zinnia Willits
THE PAST PRESIDENTS CIRCLE Members of the Past Presidents Circle contribute $150 annually for at least two years to the endowment fund: George Bassi Sharon Bennett David Butler Tom Butler Tamra Sindler Carboni Micheal A. Hudson Douglas Noble Robert Rathburn Graig D. Shaak Robert Sullivan Kristin Miller Zohn
THE WILLIAM T. AND SYLVIA F. ALDERSON ENDOWMENT FELLOWS Thirty members of SEMC have made commitments of distinction as Alderson Fellows. Their investment of at least $1,000 each is a significant leadership gift, reflective of a personal commitment to the professional association that has meant so much to each of them. Platinum Alderson Fellows (minimum $5,000) Sylvia F. Alderson
Bob Rathburn Graig D. Shaak Nancy & Robert Sullivan Medallion Alderson Fellows (minimum $2,500) George Bassi Sharon Bennett David Butler Tamra Sindler Carboni Martha Battle Jackson Pamela Meister Richard Waterhouse Our Current Alderson Fellows (minimum $1,000) T. Patrick Brennan Michael Brothers W. James Burns William U. Eiland Horace Harmon Brian Hicks Pamela Hisey Micheal Hudson Rick Jackson Andrew Ladis Elise LeCompte Allyn Lord Michael Anne Lynn R. Andrew Maass Darcie MacMahon Robin Seage Person Allison Reid Steve Rucker Kristin Miller Zohn 49
THE PETER S. LAPAGLIA JIMI SCHOLARSHIP FUND Established in 2008 to honor Pete LaPaglia's dedication to the museum field and recognize his inspirational leadership of SEMC's Jekyll Island Management Institute, this fund helps endow an annual JIMI scholarship. The year 2017 marks JIMI's 17th anniversary, and SEMC has brought the fund's total to $22,409. Elise V. LeCompte
OTHER SEMC CONTRIBUTIONS These funds contribute to the annual meeting or to the general operating funds for SEMC: Kyle Elizabeth Bryner (Annual Meeting) Aaron Berger (JIMI Merriment Sponsor) Christian Edwards (JIMI Scholarship for Michael Moore) Martha Battle Jackson (JIMI) John S. Lancaster (JIMI Scholarship for Megan Cook) Michael E. Moore (JIMI)
Susan Perry (JIMI) Keith F. Post (JIMI) Debra Watins (JIMI Sponsorship and Lisa Chastain Memorium) John A. Woods (Annual Meeting)
New or Renewal Memberships Received SEMC thanks those who have renewed or joined our organization for the first time between January 1 and March 31, 2017. Without your support and participation we could not provide region wide services such as our Mentor, Awards, and Scholarship programs, as well as our outstanding Annual Meetings and nationally acclaimed Jekyll Island Management Institute. If you are an individual member and your museum is not an institutional member, please encourage them to join. To learn more about SEMC memberships and benefits, or to join online, visit semcdirect.net. Or contact Susan Perry, SEMC Executive Director, at firstname.lastname@example.com or 404.814.2048. For your convenience, the last page of this newsletter is a membership application.
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STUDENT ($25) Bob Beatty, Franklin, Tennessee Ashley House, Autryville, North Carolina Alyssa Jones, Rock Hill, South Carolina Kathleen Kelly, Gainesville, Florida Deana M. Rausch, Atlanta, Georgia Gabriel Taylor, Atlanta, Georgia Joshua Aaron Whitfield, Columbia, South Carolina
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Carolyn Grosch, Asheville, North Carolina Michele Miller Houck, Huntersville, North Carolina Marian Inabinett, High Point, North Carolina Diane Karlson, Little Rock, Arkansas Robin Bauer Kilgo, Big Pine Key, Florida Dana-Marie Lemmer, Dothan, Alabama Annelies Mondi, Athens, Georgia Jennifer Olsson, Wilmington, North Carolina Greg Passmore, Austin, Texas Kathleen Pate, Pine Bluff, Arkansas Jerry Raisor, Owenton, Kentucky Deborah Randolph, Winston-Salem, North Carolina Mary Anne Redding, Boone, North Carolina Devon Springer Rudolph, Juno Beach, Florida Patricia Shandor, Lexington, South Carolina Christy Sinksen, Athens, Georgia Dottie Stone, Charleston, South Carolina Monique Tourres, New Orleans, Louisiana Diana Welsh, Mount Vernon, Virginia Warren John Woods, New Orleans, Louisiana Kathleen Young, Vicksburg, Mississippi
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INSTITUTIONAL MEMBERS (Category 1: $50 ) Historic Paris-Bourbon County/ Hopewell Museum, Paris, Kentucky The Old Governor's Mansion/ Georgia College, Milledgeville, Georgia Wofford College, Spartanburg, South Carolina Museum of Design Atlanta, Atlanta, Georgia Kings Mountain Historical Museum, Kings Mountain, North Carolina Curtiss Mansion, Miami, Florida
Beaufort History Museum, Beaufort, South Carolina Virginia Beach History Museums, Virginia Beach, Virginia Ohr-O'Keefe Museum of Art, Biloxi, Mississippi The Royce J. & Caroline B. Watts Museum, West Virginia University, Morgantown, West Virginia Ky. Native American Heritage Museum, Corbin, Kentucky Modernism Museum Mount Dora, Mount Dora, Florida Tuskegee University, Tuskegee, Alabama Whitney Plantation, Wallace, Louisiana The Bass Museum of Art, Miami Beach, Florida Camp Van Dorn WWII Museum, Centreville, Mississippi MS Coast Model Railroad Museum, Gulfport, Mississippi Iron & Steel Museum of Alabama, McCalla, Alabama Okefenokee Heritage Center, Waycross, Georgia Lee Gallery, Clemson, South Carolina (Category 2: $150 ) Museums of Tusculum, Greeneville, Tennessee C.H. Nash Museum, Memphis, Tennessee Georgia Museum of Art, University of Georgia,
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Greensboro History Museum, Greensboro, North Carolina Bailey-Matthews Shell Foundation, Sanibel, Florida Hampton Roads Naval Museum, Norfolk, Virginia Alexandria Museum of Art, Alexandria, Louisiana Charlotte Museum of History, Charlotte, North Carolina Florence County Museum, Florence, South Carolina (Category 5: $450 ) The Fralin Museum of Art at the University of Virginia, Charlottesville, Virginia Contemporary Arts Center, New Orleans, Louisiana MOCA Jacksonville, Jacksonville, Florida Mobile Museum of Art, Mobile, Alabama Kentucky Derby Museum, Louisville, Kentucky Customs House Museum & Cultural Center, Clarksville, Tennessee Institute of Contemporary Art, Miami,
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The locomotive Texas returns to Atlanta and the Atlanta History Center. Images courtesy of the AHC.
GEORGIA The restored 1856 Texas locomotive, an important relic of Atlanta's early railroading days and well-known for its pivotal role in 1862's Great Locomotive Chase, returned to Atlanta and its new home at the Atlanta History Center (AHC) soon. ¶ Plans called for the steam engine, a key part of the Cyclorama attraction at Grant Park for nine decades, to be delivered to the AHC's Buckhead campus on May 3, 2017, from the N.C. Transportation Museum, where it has been undergoing an extensive restoration since late 2015. ¶ The Texas was delivered on a lowboy tractor trailer, with its tender arriving on a flatbed tractor trailer. They were lifted off of the trucks by a 110-ton crane, and placed on the same tracks that held them since 1927 at Grant Park. The tracks themselves are historic, believed to date to 1880s Atlanta, when the railroad was helping build the city into the commercial capital it is today. ¶ "After many years of limited view in the basement of the Cyclorama building
in Grant Park, we are putting the Texas in a place where it is going to be front and center," AHC Vice President of Properties Jackson McQuigg said of the locomotive, which will be illuminated at night and clearly visible from West Paces Ferry Road at all hours. "This engine that has been at times forgotten in its long lifetime is going to become a focal point." ¶ "As railroads are Atlanta's reason for being, this steam engine is an icon of Atlanta's founding and growth as the Gate City of the South — the commercial center of the Southeast," AHC President and CEO Sheffield Hale said. "The Texas locomotive symbolizes Atlanta's longtime relationship with railroads and the city's importance as a hub for people, commerce, and ideas. No artifact can be more important for telling the story of Atlanta's beginnings than this Western & Atlantic locomotive." ¶ The AHC dedicated $500,000 to Texas conservation. The nonprofit cultural institution assumed responsibility for the engine in 2014 as part of a 75-year license agreement with the City of Atlanta that included 56
left: The 20,000-pound tender is lifted from the Grant Park building on the night of December 21, 2015.
above: Bearing its Nashville, Chattanooga, & St. Louis (NC&StL) paint scheme, the Texas awaits scrapping in Atlanta in 1907. Anthony Murphy, one of the pursuers in the 1862 Great Locomotive Chase, stands in the foreground.
The Battle of Atlanta cyclorama painting. ¶ Major funding for the new gallery showcasing the Texas was provided by the Gary W. Rollins Foundation. CSX Corporation is major sponsor for the exhibition that will interpret the Texas' remarkable history. ¶ The Texas and the General, the star attraction at the Southern Museum of Civil War and Locomotive History in Kennesaw, Georgia, are the sole surviving locomotives that once served the Western & Atlantic Railroad, a company key in Atlanta's early development. ¶ Atlanta was established in 1837 as the terminus of the new railroad line that ran from what was then known as Terminus northwest to Chattanooga. Atlanta grew as a railroad town and mushroomed into one of the nation's busiest transportation centers. ¶ Steam engines such as the Texas, a muscular machine that nonetheless boasts elegant lines, helped extend the Industrial Revolution in the U.S. The engine is a sizable object at 26-feet-2-inches long (without its cow catcher on front), 12-feet-4-inches tall (at top of steam dome), 8-feet-2-inches wide (at cab),
and weighing 53,000 pounds. Its tender measures 19-feet2-inches long, 7-feet-8-inches tall, 8-feet-6-inches wide, and weighs 20,000 pounds. ¶ The Texas was produced in a classic 4-4-0 design (indicating an engine with 4 leading wheels, 4 driving wheels and 0 trailing wheels) — a type so popular it was called "American" — by New Jersey locomotive maker Danforth, Cooke & Co. The 4-4-0s were so ubiquitous here that they were placed on Atlanta's first official seal in 1854, two years before the Texas was put into service. ¶ "The Texas locomotive symbolizes Atlanta's longtime relationship with railroads and the city's importance as a hub for people, commerce, and ideas," History Center President and CEO Hale said. "No artifact can be more important for telling the story of Atlanta's beginnings than this Western & Atlantic locomotive." Rand Suffolk, Nancy and Holcombe T. Green, Jr., director of the High Museum of Art, announced today that the Museum has received 54 works from the Souls Grown 57
Thornton Dial, Sr. (American, 1928–2016), Crossing Waters, 2006–2011, paint, fencing, clothing, cloth, wood, metal, corrugated tin, shoe, ceramic figurines, and wire on canvas on wood. High Museum of Art, Atlanta. © 2006– 2011 Estate of Thornton Dial / Artists Rights Society (ARS), New York. Photo: Stephen Pitkin/Pitkin Studio.
Deep Foundation, one of the most significant acquisitions by the High's folk and self-taught art department since its establishment in 1994. ¶ The combined gift and purchase features paintings, sculptures and works on paper by 33 contemporary African-American artists
from the Southern United States, including 13 works by Thornton Dial (1928–2016) that span four decades of the artist's astounding career. The acquisition also features 11 quilts created by the women of Gee's Bend, Ala., tripling the Museum's examples of this unparalleled tradition in
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Thornton Dial, Sr. (American, 1928– 2016), Looking Out the Windows, 2002, paint, metal, epoxy, stuffed animals, fabric, paint cans, carpet, and wire on wood. High Museum of Art, Atlanta. Š 2002 Estate of Thornton Dial / Artists Rights Society (ARS), New York. Photo: Stephen Pitkin/Pitkin Studio.
Lucy T. Pettway (American, 1921–2004), Birds in the Air, 1981, cotton and cotton/polyester blend. High Museum of Art, Atlanta. Photo: Stephen Pitkin/Pitkin Studio.
Joe Light (American, 1934–2005), Untitled, 1987, enamel, seashells, stones, artificial plants, wood and glass on television console. High Museum of Art, Atlanta. Photo: Kathryn Kolb.
American art. Work by Lonnie Holley and Ronald Lockett, artists whose work the High has been collecting since the 1990s, is joined by sculpture from their Alabama contemporaries Joe Minter and Richard Dial. In addition to Minter and Richard Dial, artists entering the High's collection for the first time include Eldren Bailey, one of four Georgia artists represented in the acquisition, Charles Williams,
Vernon Burwell and Georgia Speller. A significant group of paintings and sculpture by Joe Light, as well as individual works by artists such as Archie Byron, Mary T. Smith, Royal Robertson and Purvis Young, complement existing holdings by those artists. ¶ The High's acquisition is part of the Souls Grown Deep Foundation's strategic gift/purchase program designed to strengthen the representation
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Lonnie Holley (American, born 1950), What's on the Pedestal Today?, 1990, plaster pedestal, picture frames, wire, soda bottles, plastic tubing, hairbrush, cloth, mirror glove and found materials. High Museum of Art, Atlanta. Photo: Ron Lee.
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of African-American artists from the Southern U.S. in the collections of leading museums across the country, including the Fine Art Museums of San Francisco and The Metropolitan Museum of Art. ¶ "This gift dovetails remarkably well with our existing collection — essentially adding strength on strength to one of the most distinctive and important collections of its kind," said Suffolk. "We're grateful to the Souls Grown Deep Foundation for the opportunity to deepen our commitment to these artists
and recognize their impact on contemporary art." ¶ "This landmark acquisition is a capstone of years of collaboration with the High Museum of Art, the anchoring institution in the Foundation's hometown of Atlanta. We are very pleased to add dozens of significant works to the High's collection of contemporary art and look forward to years of future collaboration through insightful programming, displays and publications," said Maxwell L. Anderson, president of the Souls Grown Deep Foundation.
Archie Byron (American, 1928–2005), DNA, 1987, sawdust and glue relief, nails, screws, bullet shells, metal beads, and pigment on wood. High Museum of Art, Atlanta. Photo: Gamma One Conversions.
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congratulations WASHINGTON, DC On Friday, March 24, 2017, the National Museum of African American History and Culture celebrated the six-month anniversary of its opening Sept. 24, 2016. In its inaugural half-year, the museum has welcomed nearly 1.3 million visitors through its doors. Other highlights include: Increase in Collection Items The museum increased the number of items in its permanent collection to nearly 40,000. Approximately 3,000 objects are on display in the museum's 12 inaugural exhibitions. Since opening, the museum has added several notable fine-art acquisitions, including "Mabel," a painting by Hughie Lee Smith; artworks by Bennie Andrews donated by the United Negro College Fund; vintage photographs by James Van Der Zee; and photographs by Roland Freeman. Two of the Freeman photographs will go on view this May in the museum's newest temporary exhibition, More Than a Picture. "Through the African American Lens: Selections from the Permanent Collection" remains on view next door at the Smithsonian's National Museum
of American History, offering visitors another way to experience the National Museum of African American History and Culture and its collections. Achievement in Design The museum was recognized for its design in the Wall Street Journal's 2016 Best New Architecture honors and awarded Best Cultural Draw in Wallpaper magazine's January 2017 Design Awards. The museum is also an environmental leader — it uses 19,400 gallons per day of repurposed rain, condensation and ground water it collects for building operations and 301 photovoltaic roof panels that produce 122,803 kilowatt hours annually. The successful implementation of these renewable-energy resources will help the museum officially achieve LEED Gold Certification in 2017 — the first honor of this kind for any building on the National Mall.
opposite: National Museum of African American History and Culture. Photo by Alan Karchmer.
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Red Green & Black, Chicago 1988. Photograph by: Walter Iooss Jr. Collection of the Smithsonian National Museum of African American History and Culture, Gift of Walter Iooss, © Walter Iooss. From More Than a Picture.
Film and Television Screenings The museum has screened many notable films in the Oprah Winfrey Theater, including five Oscar-nominated films: • • • • • • • •
13th (Oscar nominated) BaddDDD Sonia Sanchez Fences (Oscar winner—Best Supporting Actress) Hidden Figures (Oscar nominated) I am Not Your Negro (Oscar nominated) Loving (Oscar nominated) Moonlight (Oscar winner—Best Picture) Olympic Pride, American Prejudice
Programming connected to these screenings has included panel discussions with Denzel Washington and the cast of Fences, Octavia Spencer and the cast of Hidden Figures and Naomie Harris and Barry Jenkins from Moonlight. The museum also screened two episodes of WGN's Underground. Family-History Records Made Available Through its partnership with Family Search, the museum and a network of more than 25,000 volunteers completed the indexing of the Freedmen's Bureau Records, making the names of nearly 1.8 million formerly enslaved men, women and children searchable online. Volunteers can still sign up online to assist in the effort to transcribe the records, which will make them keyword searchable online. Social-Media and Digital Expansion Through its social-media channels, the museum has reached new audiences outside of Washington, D.C. Since opening Sept. 24, the museum has increased its Facebook following by 156,000 for a total of 300,000, Twitter
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following by 71,000 for a total of 114,000 and Instagram following by 41,000 for a total of 91,000. The museum's visitors have used social media to engage with the museum both before and after their visit — over 44,000 posts have been shared using #NMAAHC on Instagram, and tweets using #APeoplesJourney have been shared to over 110 million Twitter accounts. Since its launch, more than 50,000 iOS and Android users have experienced the museum's Mobile Stories application, which offers a complement to the onsite museum experience and ways for users to begin discovering some of the many stories found in the collection. Stories featured in the app have been viewed almost 400,000 times and more than a thousand "reactions" to the in-app stories have been shared by users through the app. Increase in Charter Members The number of charter members has grown to more than 160,000 members since the program began. The museum continues to raise funds for exciting new public programs and to develop endowments for scholarly centers for African American study ranging from religion to sports.
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Sweet Home Café Recognition The museum's restaurant, Sweet Home Café, was named one of 27 semifinalists nominated for the 2017 James Beard Foundation Awards in the category of Best New Restaurant. Sweet Home Café is one of few museum
restaurants ever to receive this distinguished honor. The café boasts both refined and down-home cooking linked to the geographic regions that inspired each dish, revealing stories about African American culture through food.
Pirkle Jones, Black Panther Demonstration, Alameda Co. Courthouse, Oakland, Calif., during Huey Newton's trial. July 30, 1968. From More Than a Picture.
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exhibitions GEORGIA Commemorating the centennial of U.S. involvement in World War I, the first truly global conflict and among the bloodiest in history, the Atlanta History Center will host a series of four Great War-related exhibitions in 2017–2018. The exhibitions present different angles on the Great War, collectively providing a deep perspective for Atlantans and visitors. Appropriately, the first of the four exhibitions, The Great War in Broad Outlines, opened March 6, 2017, provides a context-setting overview of the conflict. ¶ The need for greater public understanding of the war, and heightened consideration of its impact on world affairs, is significant, said Atlanta History Center Executive Vice President Michael Rose. "The consequences of World War I on the world, not just the U.S., are here today," he said. "We live in the world that World War I created." The Great War in Broad Outlines March 6 – April 30, 2017 "The First World War was a never-before witnessed cataclysm on a never-before-seen scale. From Chile to Samoa, soldiers from at least fifty different countries fought each other: on land, at sea, and in the air." ¶ So informs the first of the more than 30 exhibition panels that are at the center of this touring exhibition from Belgium that recounts the conflict from an international perspective. Neutral Belgium was forced to become a central player in the conflict in the "powder keg" that was Europe when Germany invaded the country at the war's beginning in an attempt to capture Paris. Four years of German occupation followed in Belgium, bringing tragic consequences. ¶ Featuring text, photos, maps and other graphics, the exhibition panels chronicle many of the war's aspects and events, including the stunning Christmas Truce of 1914 between Allied and German troops along the Western Front; and the tireless efforts of Herbert Hoover, as head of the U.S. Food Administration, in providing humanitarian relief to starving Belgians. ¶ Endorsed by the United States World War I Centennial Commission, The Great War in Broad Outlines was created by the Belgian National Institute for Veterans and Victims of War for
the Belgian Ministry of Foreign Affairs. The Belgian government selected the Atlanta History Center as the only Southeastern exhibition host. Anne Morgan's War: American Women Rebuilding France, 1917-1924 April 6 – September 30, 2017 Featuring 31 World War I-era photographs and rare silent film footage, this exhibition brings to life the extraordinary work undertaken by 350 American women — all volunteers — who left comfortable lives in the U.S. to devote themselves to humanitarian aid in France. Excluded from the right to vote or serve in active combat, American women otherwise directed their considerable energy toward international relief work to counter the Great War's devastation. ¶ This exhibition also illustrates how Anne Morgan and her colleagues cannily employed film and photography to publicize their work and instigate social action. ¶ Anne Morgan's War was organized by the FrancoAmerican Museum, Château de Blérancourt, France, with the support of American Friends of Blérancourt and the Florence Gould Foundation. The Franco-American Museum, Château de Blérancourt (Blérancourt, Aisne, France) was founded after World War I by Anne Morgan and is today a French national museum devoted to the history of friendship and collaboration between the United States and France. It is the only museum worldwide dedicated to French-American relations. Uncle Sam Wants You! – World War I and the Poster May 20, 2017 - March 2018 Featuring more than 60 rare World War I posters, this exhibition organized by the Atlanta History Center combines artifact holdings from our permanent collection with the magnificent poster collection of Atlanta historian Walton Rawls, author of the landmark 2001 book, Fred Strothmann created this poster in 1918 as part of a U.S. government effort that mobilized an incredible cadre of artists to create "pictorial publicity." 70
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Wake Up, America!: World War I and the American Poster. ¶ Prominent artists of the period represented in Uncle Sam Wants You! — World War I and the Poster include James Montgomery Flagg, Howard Chandler Christy, J.C. Leyendecker, and N.C. Wyeth. Their images are outstanding both as graphic masterworks and as illustrations of a tragic historical episode. ¶ Georgia-connected artifacts complement the posters, including military equipment and weaponry, such as a German anti-tank gun, and the complete World War I uniform of Eugene T. Johnson, a Georgia native who trained at Camp Gordon in what is now Peachtree-DeKalb Airport. Fields of Battle – Lands of Peace: The Doughboys, 1918-1918 March 16 - July 5, 2018 A unique portrait of World War I battlefields, Fields of Battle — Lands of Peace is a powerful outdoor photographic exhibition series, featuring the work of photojournalist Michael St Maur Sheil. In its only Southern tour stop, the exhibition tells of the healed scars of the First World War through our only remaining living witness: the fields of battle themselves. ¶ Inspired by the concept of land and terrain as the grounds of war and realm of peace, the exhibition is to be installed throughout the 33 acres of Goizueta Gardens, ultimately telling a story of reconciliation across the lands of warring nations. On the European soil, once places of devastating violence, we now see landscapes of great beauty, testament to peace and remembrance. ¶ The exhibition features historical content as well as archival images to support the contemporary battlefield images of Michael St Maur Sheil. ¶ "This collection represents a legacy which I hope will create a gateway to the battlefields themselves," the photographer said, "thus encouraging people to visit these historic landscapes during the centennial period and so create awareness and understanding of the events and historical implications of the First World War." This summer, the High Museum of Art will present an extraordinary group of terracotta vessels and related works by the artist Magdalene Odundo (British, born Kenya, 1950). Universal and Sublime: The Vessels of Magdalene Odundo (June 24 through Oct. 15, 2017) will trace the trajectory of Odundo's work over the course of three decades, from its genesis in the early 1980s through her most recent innovations, including new works created especially for the exhibition. Over the years, Odundo's
Magdalene Odundo. Photo credit: Ben Boswell.
art has become immediately recognizable for its distinctive, sensuous forms, some of which suggest the human figure. Odundo builds her vessels by hand using a coiling technique and often fires them repeatedly, which results in burnished, silken surfaces ranging from bold orange to smoky, iridescent black. ¶ Odundo's technical
Magdalene Odundo (British, born Kenya, 1950), Vessel Series III, no.3, 2005–2006, burnished and carbonized terracotta. Maxine and Stuart Frankel Foundation for Art, Bloomfield Hills, MI.
Andy Warhol (American, 1923–1987), Marilyn Monroe (Marilyn), (II.23), AP edition C/Z, 1967, screenprint, 36 x 36 inches, courtesy of Jordan D. Schnitzer and His Family Foundation. © 2017 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York. Magdalene Odundo (British, born Kenya, 1950), Untitled, 1995, burnished and reduced terracotta. Maxine and Stuart Frankel Foundation for Art, Bloomfield Hills, MI.
achievements fuse with a distinctly personal style, influenced by sources from across the globe and throughout time. Her ceramics synthesize artistic traditions ranging from Greek and Roman pottery, to Elizabethan costumes, to the art of modern masters Henri Matisse and Amedeo Modigliani, to the spherical vessels African women have made throughout the centuries to carry and store water. Also this summer at the High Museum of Art is the exclusive East Coast venue to present Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation, from June 3 through Sept. 3, 2017. This comprehensive retrospective is the largest exhibition of its kind presented and features more than 250 prints and ephemera by Andy Warhol (American, 1928–1987), including such iconic screenprint portfolios as "Marilyn Monroe" (1967), "Campbell's Soup I" (1968), "Electric Chair" (1971) and "Mao" (1972). ¶ Printmaking featured prominently throughout Warhol's career, beginning with his earliest
work as a commercial illustrator in the 1950s. He discovered the process of silkscreen printing in 1962 and produced his first portfolio of screenprints, "Marilyn Monroe," in 1967 at his legendary Factory studio. Subsequently, silkscreen printing became synonymous with Warhol's career from the Factory Years through the end of his life. ¶ The works in the exhibition are drawn exclusively from collections of Jordan D. Schnitzer and the Jordan Schnitzer Family Foundation in Portland, Ore. Remarkable for their nearly exhaustive range, the Schnitzer Collections offer an unparalleled opportunity to explore the breadth of Warhol's influential graphic production over the course of four decades. The artist's fascination with the commodification of celebrity chronicles American popular culture of the second half of the 20th century and serves as a prelude for considering our current fame-obsessed, media-saturated culture. ¶ "Given Warhol's wide-ranging impact on American culture and the significant influence of media today, it seems a fitting time to reexamine 74
Andy Warhol (American, 1928–1987), Birmingham Race Riot, from the portfolio Ten Works x Ten Painters, edition 174/500, 1964, screenprint, 20 1/8 x 24 inches, courtesy of Jordan D. Schnitzer and His Family Foundation. © 2017 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.
the confluence of printmaking and popular culture in Warhol's career," said Michael Rooks, the High's Wieland Family curator of modern and contemporary art. ¶ "Andy Warhol isn't just a household name; he's among the most influential artists of the 20th century. This important retrospective is an opportunity to revisit his work — and his far-ranging influence — in depth," said Rand Suffolk, the High's Nancy and Holcombe T. Green, Jr., director. "We are very grateful to Mr. Schnitzer and the Foundation for their collaboration on this project." ¶ "In this exhibition, which is the largest Warhol exhibition ever, you're taken through one theme after another — the Kennedy assassination; Marilyn, one of the last great screen stars; Mao, probably one of the most important political leaders
of the last 100 years," said Jordan D. Schnitzer. "Artists, including Andy Warhol, push the envelope and force us to deal with the issues of the time. I think this Warhol exhibition will knock people's socks off, with themes that are still relevant today." ¶ Organized chronologically, the exhibition takes visitors on a journey through the late 20th century with some of the era's most powerful and enduring images. From portraits of Jacqueline Kennedy and Marilyn Monroe — imbued with a sense of the tragic — to evocative images of the Birmingham, Ala., civil rights protests and portrayals of influential 1970s personages, Warhol's prints speak to the American values of the prosperous post-war consumer culture and foreshadow society's preoccupation with celebrity, fashion, politics, sensationalism and scandal. ¶ In addition to providing a broad socio-cultural perspective, the works on view offer an in-depth examination of the evolution of printmaking in Warhol's career and the innovative use of repetition and serial imagery compelled by his early silkscreen printing at the Factory. Warhol famously complicated the 75
distinctions between the original and the reproduction, challenging the concept of the unique or the authentic as the culmination of artistic achievement. ¶ Key works on view on the exhibition include early hand-colored illustrations and books, including "Holy Cats by Andy Warhol's Mother" (1957); important screenprint portfolios, including "Marilyn Monroe" (1967), "Campbell's Soup I" (1968), "Electric Chair" (1971), "Mao" (1972) and "Mick Jagger" (1975); record album covers featuring cover art by Warhol (1949–1987); the elegiac portfolio "Flash—November 22, 1963," which Warhol created in 1968 to memorialize the death of John F. Kennedy, presented in a dedicated gallery; screenprint portrait of former president and Georgia native Jimmy Carter (1976). ¶ To envelop the visitor in Warhol's world, a gallery dedicated to the Factory Era will feature works evoking the unbridled formative years of Warhol's studio. Tinfoil wallpaper with graffiti by Atlanta artists will suggest the environment of the Silver Factory on New York's 231 East 47th Street, which was decorated with tinfoil and silver furniture by photographer Billy Name. The High also presents the entire "Mao" portfolio against wallpaper that Warhol designed in 1974 for an exhibition of monumental "Mao" paintings. ¶ "Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation" originated at the Portland Art Museum (Oct. 8, 2016 through Jan. 1, 2017). The exhibition is curated by Sara Krajewski, Portland Art Museum's Robert and Mercedes Eichholz curator of modern and contemporary art, and is organized at the High Museum of Art by Michael Rooks, Wieland Family curator of modern and contemporary art.
LOUISIANA Richard Buswell's photography will be featured in an upcoming exhibition at the Masur Museum of Art, entitled Richard Buswell: Close to Home. The show will be on display from July 25 to November 4, 2017. ¶ A Montana native, Buswell has photographed Western settlement sites, ghost towns and frontier homesteads for more than 41 years. He has exhibited internationally and is included in the major American collections of the Smithsonian American Art Museum, Museum of Fine Arts in Boston, Corcoran Gallery of Art, the George Eastman House International Museum of Photography and Film, Baltimore Museum of Art, Brooklyn Museum of Art, MMAC and more. Throughout his career, Buswell increasingly has moved closer to his subject matter, em-
Skull Tree, Richard Buswell, Gelatin Silver Print, 2010
phasizing corroded artifacts and decayed bones to reveal the ravages of time. Ironically, Buswell's photographs are not about loss, but about preservation. Buswell documents the effects of extraction and industry, while also portraying the renewal of the land. As the Alexandria Museum of Art will exhibit work by artists who helped influence the artists in their permanent collection. ¶ As we celebrate the Museum's 40th Anniversary and install our permanent exhibition galleries in October, we wanted to exhibit work by artists who helped influence the artists in our collection. The AMoA permanent collection focuses on 20th and 21st century Louisiana and Southern artists, as well as artists who influenced or were influenced by art in the South. ¶ We will begin our journey through the artists whose work 76
Rocks off Narragansett, 1863, William S. Haseltine, oil on canvas. Image Courtesy of the Higdon Collection.
led to the artists in our collection with Painting a Nation: Hudson River School Landscapes from the Higdon Collection. In September, we will open Refining and Defining A Nation: From Impressionism to Regionalism, which will feature many American impressionist, Ashcan School, and Regionalist artists who worked during the beginning of Louisiana art, and will bring us directly to the art in our permanent exhibition. ¶ Painting a Nation: Hudson River School Landscapes from the Higdon Collection will serve as the Museum's first exhibition featuring the development of American art. The Hudson River School was the first school of painting native to the United States, started by Thomas Cole before his death in 1848, and flourishing through the 1870s. ¶ The majority of the paintings feature serene northeastern landscapes, with a few focusing on western landscapes and still life. This exhibition includes work by notable Hudson River School artists Jasper Francis Cropsey, Albert Bierstadt, and others. Curated by the Gibbes Museum of Art from the collection of Ann and lee Higdon, the 23 beautiful paintings in this exhibit honor our nation's beauty
and the desire of the painters to develop a unique visual language for America. Painting a Nation: Hudson River School Landscapes from the Higdon Collection was organized by the Gibbes Museum of Art, Charleston, South Carolina. ¶ In addition to being the 40th Anniversary of the AMoA, 2017 marks the 30th year of our September Competition. To honor this and to coordinate with our permanent exhibition opening in October, we moved 30th September Competition from its normal September start date to an opening in June with the exhibit ending in September. ¶ The four month exhibit will feature 50 works selected from more than 250 national and international submissions. The September Competition highlights contemporary artistic practices in all media. ¶ For the 30th year of the competition, AMoA was happy to welcome back former AMoA Director Mark Tullos as our competition juror. Mark A Tullos, Jr., has served as Assistant Secretary for the Office of State Museum and Director of the Hilliard University Art Museum at the University of Louisiana at Lafayette. He has served as Executive Director in art 77
From Water Rails of the Atchafalaya. Photo by Greg Guirard.
museums and visual arts organizations for over 30 years. ¶ In the 1990s Tullos was Director for the Alexandria Museum of Art. Under his eight-year administration, the Alexandria Museum of Art completed a six million dollar campaign for the expansion of museum facilities and the creation of a larger operations endowment. Tullos also served as the Founding Director of the Walter Anderson Museum of Art in Ocean Springs, Mississippi. The West Baton Rouge Museum is pleased to highlight Louisiana's rich natural diversity with an exhibit dedicated to the Atchafalaya Basin Swamp. The exhibition, Water Trails of the Atchafalaya, will be on display in the WBRM's Whitehead Gallery from June 17 through October 29, 2017. Come celebrate Louisiana's greatest natural resource, viewed through the art and lifestyle it inspires! ¶ Named "long river" by the Choctaw, the Atchafalaya River stretches 135 miles from where it branches off the
Mississippi and Red Rivers to its terminus at the Gulf of Mexico. The basin of this river, which includes some 1.4 million acres, is the only growing delta in Louisiana. It boasts the largest contiguous bottomland hardwood forest in North America and is prime wintering habitat for more than half of America's migratory waterfowl. The Atchafalaya Basin may be a last refuge for endangered species such as the Peregrine Falcon, Bachman's Warbler and the Ivory Bill Woodpecker, as well as the endangered Louisiana Black Bear and the Florida Panther. Overall, the Atchafalaya Basin is home to fifteen Federal and State listed endangered or threatened wildlife species. ¶ White tail deer, bobcat, coyote, alligator, beaver, nutria, mink, otter, musk rat, armadillo, fox and opossum also call the Atchafalaya home. The numerous mammal, reptile and amphibian species attract local hunters; and the nearly 100 species of fish, crawfish, shrimp and crabs support commercial and sport fishing. Because of its rich diversity, 78
Flesh Moon, oil and embroidered thread on linen, 2015, 21.75 x 21.75 inches
Saving Spaces exhibition at the Louisiana Art & Science Museum.
the Atchafalaya is considered the most productive swamp in the world. ¶ Water Trails of the Atchafalaya features photography by C.C. Lockwood, Greg Guirard, and others as well as original artwork by Louisiana native artists including Melissa Bonin, Shane Seneca, and Kenny Greig. The exhibit will also feature sections of ancient cypress
trees salvaged from the Basin, asking visitors to count their rings and guess their age.
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This summer, the Louisiana Art & Science Museum focuses on the Moon and its phases in the museum's newest series Monica Zeringue: Absence and Presence, by New Orleans artist Monica Zeringue. Composed of paintings and renderings in graphite on primed linen, any embellished with beads, Zeringue's images recall ancient interpretations of the Moon as feminine as well as a lyrical portrait of human life. Absence and Presence is on view in the Universe Gallery through June 25, 2017. ¶ Also on view this summer at the Louisiana Art & Science Museum is Polymers in Art Through the Centuries. Polymers are chemical compounds composed of small, identical molecules called monomers that link together to form repeating structural units that resemble chains. Some polymers, like cellulose, occur naturally, while others, such as acrylic or nylon, are artificial. Using examples from the Art & Science Museum's collection, this exhibition provides a broad overview of polymers found in some of the most common materials as well as unexpected substances used in the making of art throughout the centuries, ranging from Japanese lacquerware and oil paints to more recent inventions such as acrylic paint, Lucite, and the plastics used in 3D printing. Organized with the assistance of John Pojman, LSU Professor of Chemistry. Polymers in 79
Left to right, posters by Jessica Sabogal, Shephard Fairey, and Hallie Jay Pope.
Art Through the Centuries is on view through September 3, 2017. ¶ Also on view at the Louisiana Art & Science Museum this summer is Saving Stories: A Playful Take on Recording Personal History, now through October 1, 2017. Reflect, preserve and share life stories in this hands-on display. Two installations by local school groups not only provide a glimpse into the lives of their youthful makers but also invite visitors of all ages to participate by adding on their own stories. Additional interactive stations offer playful projects to make expressive personal histories.
NORTH CAROLINA The Asheville Art Museum is excited to present Hear Our Voice, on view May 20 to July 16, 2017 at the Asheville Art Museum On the Slope at 175 Biltmore Ave. The exhibition explores the potential of visual art to empower people, artists and communities and promote dialogue. ¶ Significant events in history inspire creative activity, and artists play an important role in visually defining these key moments. The works in this exhibition exemplify how
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Museum Graphics | Design. Print. Production. P R I N TO L O G YS I G N S. C O M | 8 4 3 . 4 7 3 . 4 9 8 4
From the Gibbes Museum of Art's exhibition Artist, Scientist, Explorer: Mark Catesby in the Carolinas. The Parrot of Carolina and the Cypress of America, ca. 1722–1726, by Mark Catesby (British, 1682–1749); watercolor, bodycolor, and pen and ink; Royal Collection Trust/© Her Majesty Queen Elizabeth II .
artists communicate and share messages that are important to them and in turn provide the public with tools for communication. The majority of the artists featured in this exhibition are women, and many of the images focus discussion on ideas like equality, the strength of women, and the power of organized collaboration. ¶ Hear Our Voice is organized by the Amplifier Foundation, which accepts submissions for artwork in response to current organized actions and issues. The works on view in the exhibition were submitted by artists and presented as free, downloadable posters for The Women's March that took place in many cities across the country on January 21, 2017. The Amplifier Foundation saw the impressive artistic talent in the submissions and made them available for an exhibition. Of the 5,000 submissions The Amplifier Foundation
received, the Asheville Art Museum has selected over 50 of them for its Hear Our Voice exhibition. The exhibition includes series of works by internationally-recognized artists Shepard Fairey and Jessica Sabogal.
SOUTH CAROLINA A new special exhibition opened at the Gibbes Museum of Art this spring with works by Mark Catesby titled Artist, Scientist, Explorer: Mark Catesby in the Carolinas. The show, which runs from May 12 to September 24, 2017, features 44 watercolor paintings by English artist, scientist and explorer Mark Catesby generously lent by Her Majesty Queen Elizabeth II from the British Royal Collection. 81
"The Carolinas, and particularly the city of Charleston, is a significant location in the fascinating story of Catesby's life and work," said Angela Mack, executive director of the Gibbes. "We are honored to host this special exhibition and provide a once-in-a-lifetime opportunity to bring Catesby's original watercolor paintings to the very location that inspired their creation." ¶ Artist, Scientist, Explorer: Mark Catesby in the Carolinas also includes watercolors created circa 1733 by Catesby's friend George Edwards, a fellow artist who created precise renderings of birds. In many cases, the two artists painted the same subject, including the now extinct Carolina Parakeet. Collected by John Drayton in 1733, rediscovered in 1969, and recently conserved, the Edwards paintings will be on loan from The Lenhardt Collection of George Edwards Watercolors at Drayton Hall, a historic site of the National Trust for Historic Preservation.
TENNESSEE The Knoxville Museum of Art presents Gathering Light: Works by Beauford Delaney from the KMA Collection, May 5 to July 23, 2017. Gathering Light includes more than 30 of Delaney's paintings and drawings — nearly all of which have never before been on public view — that were purchased from the artist's estate between 2014 and 2016 in what is one of the most significant art acquisition in the KMA's 27-year history. The acquisition and display of these works are part of a larger effort to bring longoverdue attention to Delaney's legacy in his hometown. ¶ Beauford Delaney (Knoxville 1901–1979 Paris) is considered one of the greatest artists of the 20th century. Despite battling poverty, prejudice, and mental illness, he achieved an international reputation for his portraits, scenes of city life, and free-form abstractions marked by intense colors, bold contours, and vibrant surfaces. The KMA's growing collection promises to serve as a vital resource for the preservation and celebration of this East Tennessee master's work.
TECHNICAL SPECIFICATIONS Fiber Type
Glass or PMMA
Supply Voltage
110-240VAC, 50-60Hz, 0.12A
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External 12VDC, 5A
LED Power & Type
20W white light
Color Temp / CRI
3000K or 4000K / >93 CRI
LED Life
50,000 hours in ambient 25°C
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Dimming via DMX, 0-10V or manual
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0-10V Dimming
0-10V receiving
Material & Finish
ABS, grey
Dimensions / Weight
8.74" x 4.5" x 3.19" / 1.98lb
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Beauford Delaney, Knoxville, 1969. Watercolor and gouache on paper, 24 x 15 ž inches, Knoxville Museum of Art, purchase with funds provided by the Rachael Patterson Young Art Acquisition Reserve.
GEORGIA The Augusta Museum of History is pleased to announce a special online exhibition, Camp Hancock: WWI in Augusta. Augusta and the other counties that make up the River Region of Georgia and South Carolina are home to a proud tradition of service men and women. Before World War I the Augusta area had two significant army camps, Camp McKenzie and Wheeler, as well as, Barnes Field, the Army's winter airbase and the federally operated Augusta Arsenal. During the war, Augusta was home to one of the largest military camps in the United States, Camp Hancock which opened in 1917. The region's dedication to its military and its veterans has continued, with it being the home of Fort Gordon. ¶ The military contributions of this region, especially during the World War I years, is highlighted in this online exhibition of World War I memorabilia curated by Lauren Boasso. The majority of the images and the map with the locations of various Camp sites has been made possible by the generosity of Mr. Joseph M. Lee, III. ¶ The exhibition can be found on the Museum's website: www. augustamuseum.org. In a move of historic proportion and requiring a major feat of engineering, The Battle of Atlanta cyclorama painting moved from its Grant Park home to the new custombuilt 23,000-square-foot Lloyd and Mary Ann Whitaker Cyclorama Building at the Atlanta History Center. ¶ The transfer of one of the city's rarest historic treasures, which debuted in 1886 and has called its current Grant Park facility home since 1921, is being orchestrated by a team of Atlanta
History Center staff experts, working with some of the best minds in the highly specialized field of cyclorama conservation. The team's processes have included strength-testing the canvas, documenting the current condition of the paint layers and fiberglass backing, and conducting stabilization conservation efforts needed prior to moving the painting. ¶ The painting, 42 feet tall with a circumference of 359 feet, is estimated to weigh 12,000 pounds. After it was carefully separated along two existing seams, the two 6,000-pound sections were rolled around two 45-foot-tall custom-built steel spools. Weighing roughly 6,200 pounds each, the spools awaited their move inside the Grant Park Cyclorama building. ¶ The removal and relocation process took two days. The spools were individually lifted out the Grant Park building by a crane through two 7-foot-square holes cut into the concrete roof. ¶ After being loaded on the backs of two flatbed trucks with the help of a second crane, they will be trucked to the Atlanta History Center. On day two, the cranes conducted the delicate operation in reverse, lifting and then carefully lowering the scrolls through a 10-foot-square opening in the roof of the new Lloyd and Mary Ann Whitaker Cyclorama Building, sited at the northeast corner of the Atlanta History Center's 33acre campus at West Paces Ferry Road and Slaton Drive. ¶ Over the next several months, the painting will be unscrolled in its new home for a full restoration, including the re-creation of seven feet of sky across the top of its full circumference. The full Cyclorama experience, complete with the addition of the restored 1856 Texas locomotive and enhanced interpretation and exhibitions, is projected to open in fall 2018. ¶ The Battle of Atlanta is one of only 84
Photo documentation of The Battle of Atlanta. below: A conservator's examination. Removal from Grant Park. Courtesy Jason Hales.
opposite top: The cyclorama delivered but unfurled. opposite bottom: Overall view of the cyclorama and its diorama, July 2014.
17 surviving cycloramas worldwide dating from 1880 to 1920, when this mix of entertainment and art form first became popular. Cycloramas predated Hollywood talkies and are sometimes described as the 3-D IMAX movies of their time. Of the 11 still exhibited, only three are in North America: The Panorama of Jerusalem, in Quebec, The Battle of Gettysburg, in Pennsylvania, and The Battle of Atlanta. Created at the American Panorama Company in Milwaukee by German artists, the Atlanta painting is the only surviving cyclorama composed and painted entirely in the United States. ¶ "The greatest value of this project is the historical significance of The Battle of Atlanta painting and how it has been viewed and interpreted throughout history," said Senior Military Historian Gordon Jones. "The Cyclorama has much to teach us. It tells a story that extends well beyond the Civil War. In fact, it is the largest single artifact in existence to best tell the story of how the Civil War has been remembered, used, misused, forgotten, and interpreted over time. Literally and figuratively, it's one of the biggest artifacts in the country, and its subject, and home, is Atlanta."
LOUISIANA Beginning on April 1, 2017, the National WWII Museum began offering the public the opportunity to tour and ride restored patrol-torpedo (PT) boat 305 on her home waters of Lake Pontchartrain, where she was originally tested by Higgins Industries more than 70 years ago. For the first time ever, visitors will be able to see and feel the PT boat experience, and learn about the service of the men who called this incredible vessel home. The public launch of PT-305 is the culmination of the Museum's decade-long effort to restore her, as well as more than 130,000 hours of work from a dedicated corps of over 200 volunteers. ¶ Rides and tours aboard PT-305 will operate from her new home: a custom-built boathouse located at Lakeshore Landing near the New Orleans Lakefront Airport. The world's only fully restored combat-veteran PT boat in operation today, PT305 will become a unique Museum experience — placing visitors on the very deck where members of the US Navy stood to attack Axis supply ships and troop transports, speeding over the waves just as PT-305's crew did in the
PT-305 inside her new permanent home: a custombuilt boathouse located at Lakeshore Landing. Courtesy of The National WWII Museum. PT-305 rides again on her home waters of Lake Pontchartrain. Courtesy of The National WWII Museum.
Mediterranean during the war. ¶ Public rides on PT-305 started April 1, and are only offered on Saturdays. The complete experience will last approximately 90 minutes. Deck tours are offered on Wednesdays, Thursdays, Fridays and Sundays between 10:00 a.m. and 4:00 p.m. each day, lasting 87
American Revolution Museum at Yorktown.
approximately 45 minutes. Tours will cost $15 per person and rides are $350 per person. Discounts are available for seniors, children, military and Museum Members.To book rides or tours aboard PT-305, visit pt305.org.
VIRGINIA Stories of citizens and soldiers of the American Revolution unfold at the new American Revolution Museum at Yorktown, an expansive history complex featuring an introductory film, immersive gallery exhibits and livinghistory experiences in re-creations of a Continental Army encampment and Revolution-era farm. ¶ The American Revolution Museum at Yorktown, replacing the Yorktown Victory Center, presents a renewed perspective on the meaning and impact of the Revolution. The dedication of the American Revolution Museum at Yorktown on April 1 was the highpoint of a 13-day Grand Opening Celebration,
March 23-April 4, saluting each of the first original 13 states in the order that they ratified the Constitution. Through immersive indoor gallery exhibits with hundreds of period artifacts, experiential films and interpretive livinghistory experiences, the American Revolution Museum at Yorktown presents a renewed national perspective on the meaning and impact of the Revolution. ¶ In the 170seat museum theater, Liberty Fever draws visitors into the world of Revolutionary America, setting the stage for indoor gallery and outdoor living-history experiences. The introductory film is narrated by an early-19th-century storyteller who has traveled the country gathering stories about the American Revolution and shares his accounts using a moving panorama presentation of the time period. ¶ The 22,000-square-foot permanent exhibition galleries engage visitors in the tumult, drama and promise of the Revolution through period artifacts and immersive environments, dioramas, interactive exhibits and short films, including an experiential theater that transports visitors 88
Continental Army surgeon at the American Revolution Museum at Yorktown, courtesy of the Jamestown-Yorktown Foundation.
to the Siege of Yorktown with wind, smoke and the thunder of cannon fire. ¶ Siege of Yorktown theatre at the American Revolution Museum at Yorktown, courtesy of the Jamestown-Yorktown Foundation. ¶ Among close to 500 artifacts on exhibit are a Declaration of Independence broadside dating to July 1776; a June 1776 Philadelphia printing of the Virginia Declaration of Rights, one of the inspirations for the U.S. Declaration of Independence; a coronation portrait of King George III from the studio of Allan Ramsay; one of the two earliest known portraits done from life of an African who had been enslaved in the 13 British colonies that became the United States; and an extremely rare early southern American long rifle. ¶ The storyline told in the museum's permanent exhibition galleries comes to life in vibrant outdoor living-history experiences in a Continental Army encampment and Revolutionera farm. Costumed historical interpreters engage visitors in an array of hands-on activities, from military drills to processing plant fiber for cloth. ¶ The Continental Army encampment, triple its previous size, represents a portion of an American regiment and includes tents for soldiers and officers, quarters for a surgeon and quartermaster, and a drill field and artillery amphitheater with tiered seating that from the outside looks like a redoubt. There, visitors can join an artillery crew and then see historical interpreters demonstrate its firing. ¶ The farm features a larger house, kitchen, tobacco barn and quarters for enslaved people, along with crop fields, corncrib, kitchen garden and orchard. A specific 18th-century York County family
serves as a frame of reference for historical interpretation. ¶ Located within the Jamestown-Williamsburg-Yorktown "Historic Triangle" and next to Yorktown National Battlefield, the Yorktown Victory Center opened in 1976 as one of three Virginia visitor centers for the Bicentennial of the American Revolution. Structural and exhibit improvements were implemented in the 1990s, broadening the museum's focus to encompass the entire Revolution. The American Revolution Museum at Yorktown is the realization of a master plan adopted in 2007. The plan called for replacing the 1976 facility, with the new building positioned on the 22-acre site to allow for continued operation throughout construction, and repositioning and reconstructing the encampment and farm. ¶ A new 80,000-square-foot building opened in March 2015, with a theater for showings of Revolution-theme films, an illustrated timeline spanning the second half of the 18th century, and a gift shop and cafe. An important element of the new building is an education center, with five classrooms and a separate entrance, to serve student groups and the general public with dynamic, interactive learning experiences. ¶ Planning, building and exhibit construction, and renovations to the site, including living-history areas, are funded by the Commonwealth of Virginia. Major components of the project total approximately $50 million. Private donations to the American Revolution Museum at Yorktown Campaign for Support are funding elements of gallery and outdoor exhibits, artifact acquisitions, and educational resources. 89
people and places
SEMC's Vice President Dawn Hammatt was appointed as the New Director of the Dwight D. Eisenhower Presidential Library and Museum, effective May 28, 2017. Ms. Hammatt has served in museums across the Southeast for her entire career, including as the managing director for a local history museum and on the governing board for the South Carolina Archival Association. In New Orleans, she was the Director of Curatorial Services for the Louisiana State Museum, where she oversaw the exhibits, collections management, curatorial and education departments for the state. Most recently, she has worked for the Mississippi Arts and Entertainment Experience in Meridian, Mississippi, where she managed the design and fabrication of a new 22,000-square-foot exhibit. Ms. Hammatt holds a Bachelor of Arts degree from Louisiana State University, a Master of Liberal Studies from the University of Oklahoma, and is currently enrolled in a Professional Certificate program in nonprofit administration at the University of Montana.
IN MEMORIAM The North Carolina Museums Council recognized Frank Eugene Watson III at its annual meeting this March, in Wilmington. His son, Frank Watson IV, who is now leading Charlotte Van and Storage, received the honor on his
father's behalf. An exhibitor for many years at SEMC, and numerous state museum annual meetings, and a man adored by his museum colleagues for his sincere warmth, good humor, kindness, and generosity, Frank Eugene Watson III died on December 22, 2016, after a battle with leukemia. ¶ Numerous museum professionals and exhibitors wrote to NCMC in Frank's praise. Fellow exhibitor Nathan Moehlmann noted, "As with everyone who had the pleasure of being with Frank Watson, if even for a moment, I found his good cheer inescapable and memorable. . . . To say that we adored Frank is not to overstate it. We will miss him profoundly. . . . He might correct me — his was a sharp mind — but I think we first hit it off at VAM, when it was held at the Homestead, a good while ago now. I knew him from NCMC, of course, but at VAM, which was my first foray as an exhibitor away from my NCMC friends, I sought out my fellow North Carolinian. Or likely he called me out: 'Nathan! Drop your card in my basket, you might win some wine.' He would have had no reason to remember my name, but then he seemed to know everyone's names at VAM, at NCMC, and at all the museum conferences we attended together as exhibitors. 'Frank, how in the world do you remember all of these names?' I asked him. 'Nathan, just read their name tags.' Frank knew how to work his booth! But after he called out your name once and you came over to chat with him, it was as if you'd known him forever, so sincerely warm and gracious and charming was Frank." ¶ As noted in the Charlotte Observer, Frank was born in California in 1946 to Frank and Jeanne Watson, Jr. At an early age he moved to Macon, GA, and lived there until his father moved the family to Charlotte, NC. In 1955 Frank's father founded Charlotte Van and Storage Co., Inc. Frank was president of the family business from 1981 until 2011. At his death he was co-owner of Charlotte Van and Storage with his wife. His son, Frank Watson IV, now runs the family business. He is survived by his wife of 45 years, Linda Rhodes Watson, his son Frank Watson IV (Kristen), and his daughter Linda Patricia Watson Brischetto (Michael). Frank graduated from East Mecklenburg High School and Pfeiffer College. He was named Pfeiffer College Alumni of the Year in 1981. He was a veteran of the Vietnam War (Navy). ¶ Frank's generosity extended to many organizations: He was President of the NC Movers Association, President of 90
Frank Watson — a force of good cheer and generosity — makes the rounds to visit fellow exhibitors at SEMC 2013.
the Carolinas Carrousel Parade, President of the Executive Association of Charlotte, President of the Dilworth Rotary Club, President of the Downtown Rotary Club, member of Lancaster Rotary, member of Rotary International, a Paul Harris Fellow, Rotary Foreign Exchange Service, a Salvation Army Volunteer, Board Member of Discovery Place, Board Member of Presbyterian Hospital, Board Member of Mission Air, MS Bike-a-Thon, Myers Park
Methodist Disaster Relief, volunteer at Lancaster SC Second Baptist Sportsman Banquet, Board Member of Presbyterian Hospital. A celebration of his life was held at Myers Park United Methodist Church on Thursday, December 29, 2016. Donations may be sent to Myers Park United Methodist Church, 1501 Queens Rd, Charlotte, NC, 28207, or The Leukemia & Lymphoma Society, 4530 Park Rd, Suite 240, Charlotte, NC, 28209. 91
what's happening Send information for What's Happening to Susan Perry at firstname.lastname@example.com.
The Association of African American Museums (AAAM) Conference will be held July 3 – August 5, 2017, in Washington, D.C. For more information visit blackmuseums.org.
Kentucky Museum and Heritage Alliance June 11–13, 2017, Frankfort, KY
The American Association of State and Local History (AASLH) annual meeting will take place in Austin, Texas. The conference will run September 6–9, 2017. For more information visit aaslh.org. The Association of Academic Museums and Galleries (AAMG) will hold its annual conference June 22–25, 2017, in Eugene, OR. For more information visit aamg-us.org.
Florida Association of Museums September 17–20, 2017, Naples, FL Louisiana Association of Museums September 11, 2017, New Orleans, LA Museums Association of the Caribbean October 22–25, 2017, Miami, FL
important dates may 1 – july 12 SEMC 2017 Early Bird Registration june 16 SEMC 2017 Exhibition, Publication, and Technology Competitions deadline june 16 SEMC 2017 Scholarship Applications deadline july 12 SEMC 2017 Early Bird Registration ends july 14 SEMC 2017 Awards Nomination deadline aug 11 SEMC 2017 Hotel Room Block deadline aug 21 SEMC 2017 Online Registration closes sept 11–13 SEMC 2017 Annual Meeting, New Orleans, LA oct 4 Deadline for fall issue of Inside SEMC
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Published on Jun 12, 2017
The Newsletter of the Southeastern Museums Conference