Musings

WCG February 9, 2013 Program

Rebecca Fifield’s lecture, “The Gang’s All Here: Current Changes for Collections Care”, wasn’t just a talk—it was a call to action!  More than once, Fifield mentioned that she was interested in “systems.” Theoretically, museum workers, from the curator to the security staff, depend upon one another to keep the “machine” running. However in practice, we face a multiplicity of problems that stop us. Rebecca, collection manager at the MET Museum in NYC, moved the discussion from large scale museums to small historic homes, embracing the essential role that collection care professionals hold and must expand on.

Held on February 7, 2013, at the Museum Studies Center of the George Washington University, it was a robust attendance, with over 78 people. While most attendees were conservators, at least a third came from the collection care, registrar, and student fields. Rebecca’s talk was inspirational to both the conservation professionals and the collection care sector.

Some of her main points covered:

#1: We need to better define collection care – among ourselves, and to others. We need to discuss its importance to all museum functions and the visitor experience. The titles of “Collections Care” or “Curator” are vague. We need to define what it is we do and don’t do. There is either too much weight or too little weight on any given job title in the museum field. On one hand, people are stretched; taking on jobs they are not trained for or have no experience in. On the other hand, some are not trusted or given the responsibility to exercise the skills they possessed.

#2: We need to better support ALL collection care practitioners through mentoring, mid-career training, and advancement opportunities. Fifield desires a space for dialogue and exchange including all stakeholders in museum fields. Inter-museum mentorship can prepare workers for the middle of their career. We need to figure out routes for advancement and upward motion through this dialogue.

#3: We need to keep developing collection care resources (like collections risk assessment!) that build skill, improve collection care, and nurture the collaborations between all museum professionals. We need more support and communication. If we learn about each other’s jobs we will be able to better define our own. If we continue to train and learn, we will be able to do our jobs into the future. If we communicate with our peers, we can map new strategies for success and expansion.

#4: We need to get the public involved! We need to demonstrate to our administrators that this is an area of interest to the public and potential supporters. We need to gain more external support, possibly through private “backstage” tours and “foster an object” projects. We should all be talking about how to find the right way to say “Yes.”

Fifield said one of her favorite sayings is: “Collections Care is not a la carte”—and it’s true. We must insist that Collections Care is not a luxury, passive activity, nor is it “make work.” It is only as strong as its weakest component.  Many of us in the museum field have our eyes on the small things. The big picture requires change and collaboration.

Written by Lorenza Lattanzi, Conservation Intern, February 2013

Last Thursday evening, I was invited to take part in the groundbreaking for the new George Washington University Museum. I shoveled ceremonial dirt to help commemorate the occasion of building a new cultural institution on campus.

With remarks from President Knapp and other distinguished guests from the Board; the audience listened to plans that have been in motion for years.  The new museum, opening fall of 2014, will combine the Textile Museum, the Washingtoniana Collection donated by Albert Small, and the existing University art collection.

The ceremony involved the unveiling of artworks from each collection, but notably a beautiful portrait of Albert Small painted by artist Bradley Stevens. The genuine warmth emanating from this portrait will be a welcomed presence in the new museum, and help define the legacy of Mr. Small.

The evening continued with the President’s dinner held at the historic Decatur House. I joined fellow students from both the Museum Studies and Museum Education program in attending.  We met with historians, University Trustees, staff from the Textile Museum, writers, consultants, artists, GW alumni, and other distinguished community members. As young professionals (and proud nerds) we gushed over the opportunity to meet with such a cultural force of DC, including James Leach, Chairman of the National Endowment for the Humanities. The evening ended with a decadent gilded-chocolate dessert and closing remarks by Assistant Professor Laura Schiavo, who spoke about her work with Albert Small and she impressed on us the significance of the treasured Washingtoniana collection.

I am excited for the learning experience this museum will bring to our students, on multiple levels. With our faculty participating in committee planning meetings, the new museum will present a fascinating example of the administration involved with building and supporting a museum; we can have a dialogue about both the struggles and the successes. Also, this museum will incorporate the historic Woodhull House already on campus, presenting an interesting dynamic of exhibition space.

I hope the University Museum will take advantage of our graduate program, and through classes and directed research, enrich our program with more hands-on experiences and real-world scenarios. Perhaps, opportunities for our students to develop and design exhibits, create learning tools for visitors, research information for archives, delve into new technology for reaching audiences, and of course to help care for the collections.

Until the museum is ready for interns and research assistants, the Museum Studies students will eagerly await the sign-up sheet.

For up to date facts and to see photographs of the proposed building, check out the website.

Photographs courtesy of the GW University Photography Flickr account.

- Hilary-Morgan Watt

The Washington Post has recently featured the ongoing debate about the design of the Dwight D Eisenhower memorial planned for the site at Maryland and Independence Avenues. A federally appointed Commission under the direction of the Department of Interior has selected a design by Frank Ghery. Ghery is probably the most well-known living architect and one who has no presence here in DC. (In 2009 his design for an expansion of the Corcoran Gallery of Art was scuttled when fundraising faltered). The current controversy is centered on the criticisms of the family of President Eisenhower and has resulted in recent revisions to the design. Despite these changes, the family remains unconvinced that large approximately 80 foot tall tapestries depicting scenes of the heartland of America will be acceptable. Their criticisms now focus on the ongoing maintenance cost of these large metal scrims. The family also sees them as a very expensive part of the project. In a time of federal budget constraints, the project may well be too costly and Congress has raised some questions about this project as well, despite the fact that the memorial will likely be funded by private donations. It may also be that the family’s resistance is not the cost but the design itself. At the core of their complaints has been a lack of proper respect for the legacy of their grandfather. The question then becomes who is the client? Clearly the Vietnam and World War II memorials were largely influenced by the veterans of those wars. In this instance we have many stakeholders… the government, the American public, the family and others such as the museum and architectural community. The voice of the family has been very prominent and may well force the project to be cancelled or postponed indefinitely. And this illustrates the serious leadership dilemma of highly visible memorials and museums worldwide.

Members of the Museum Studies Program faculty, staff, alums and current students were among the 5000 attendees at AAM’s annual meeting in Minneapolis earlier this month. Thanks to GW Alumni Programs and CCAS for helping us to host a well-attended reception Monday night. It followed the Marketplace of Ideas where we entertained questions about the program and Megan Mulkerin and Samantha Bass presented papers (Dixie Clough did the same on the last day of the conference). It was a good conference with many excellent sessions. Martha Morris, Laura Schiavo and Kym Rice were all on panels (as were many of our alums). Jacqueline Emerick helped us at both the Marketplace and the Reception. Zhuoran Shi and Megan received fellowships from NAME and COMPT to attend the conference. Some of us were able to visit local museums. The Minneapolis Museum of Art featured some dazzling collections while the Minnesota History Center showcased innovative design and interpretive ideas.

 

The GW Museum Studies Program had the honor of hosting the2012 Marie Malaro Award for Excellence in Research and Writing Symposia on April 13, 2012. Samantha Bass, Dixie Clough, and Meghan Mulkerin presented their award-winning papers at the Symposia. Samantha Bass’s “Exhibiting the Sacred,” focused on the proper way of handling and displaying sacred objects in museums. Dixie Clough’s “People Follow People: the Key to a Successful YouTube Strategy for Museums” provided recommendations on how museums today can utilize YouTube to their advantage in many different aspects. Meghan Mulkerin’s “Says Who? Objects and Attribution in Museum Records” demonstrated how inaccurate information can be found in museum records and offered suggestions to rectify the problem. After the student winners presented, the audience heard from Alex Nyerges, Director of the Virginia Museum of Fine Arts in Richmond, on “Should Museums Exist?” Mr. Nyerges is a 1982 alumnus of the Museum Studies Program. He spoke on the change over time in the purpose of museums from “collecting, preserving, and exhibiting” to a more resolute focus today on the audience. His riveting discussion touched on the importance of accessibility, relevance, and fun in museums and how the next generation of museum professionals needs to focus on continuing to develop these traits in museums. Overall, the Symposia was a wonderful outlet for learning about new and exciting develops in the museum world and a fantastic way of honoring the 2012 Marie Malaro Award Winners!

Alex Nyerges, Director, Virginia Museum of Fine Arts, Kym Rice, Director, MSTD, Samantha Bass, Meghan Mulkerin, Dixie Clough

Recently we witnessed the historic groundbreaking of the National Museum of African American History and Culture …the newest Smithsonian museum on the Mall. We learned that this project has been a dream for over 100 years. It promises to be a wonderful new museum full of meaning and important artifacts in an intriguing new building at the foot of the Washington monument. In early March the 8th Annual Building Museums™ conference was held in Philadelphia. There the stories of many museums were shared in presentations by museum directors, board members, architects, engineers, exhibition designers, registrars, conservators, educators, and curators…evidence that these projects are truly a team creation. We were hosted by the National Museum of American Jewish History, the National Constitution Center and the University of Pennsylvania museum. Over 200 people attended the conference. Featured projects included the newly opened Natural History Museum of Utah in Salt Lake City, the new Barnes Foundation museum opening in May 2012, and 18 other projects. Each building project was the result of years of planning, leadership vision, staff support, and community partnership. In keeping with our desire to highlight best practices a Buildy Award was given to The Phipps Conservatory in Pittsburgh in recognition of superior green building practices. Finally, a highlight of this conference was the preview of a new study recently completed that examines the success and failure of arts building in the US over the past decade. This study completed by the University of Chicago looked at key factors such as leadership, community support, and sustainable models. Clearly in this age of museum building seeking best practices is more important than ever.

On March 24 MSTD students enjoyed a session on tips for getting a job after graduation.  Recent alums Shay Henrion (National Museum of American History collections documentation contractor), Kara Hershorin (Research Asst at Institute for Learning Innovation) and Stephanie Shapiro, Administrative assistant in the Office of Advancement at SI) shared their stories of landing that first job.  All stressed the importance of internships and networking.  And each noted that persistence and patience will pay off. Despite a slow process of seeking jobs and landing interviews, our students have great credentials. Our surveys show that most find a job within the first 6 months after graduation.  Being willing to look in different areas of the country is critical.   The session included a presentation by Christy McDonald of GW’’s Career Center.  They offer helpful webinars, resume writing and interviewing workshops, and tips about using social networking tools. Get your profile on Linked In!  Christy, Shay, Kara, and Stephanie are all happy to provide help to students seeking employment.  GW alumni are available as networking consultants and MSTD has a listing of alums and their current jobs.  And remember the economy is starting to pick up.

-Martha Morris

Since last summer, I have had the amazing privilege of interning at Ford’s Theatre as they prepared to open up their new Center for Education and Leadership.  The Center – which is across the street from the theatre – includes three floors of exhibition space and completes the story of Abraham Lincoln’s funeral, the manhunt for John Wilkes Booth, and the lasting legacy of our 16th president.  The Center will open permanently to the public on February 21st, one day after a special public open house that includes various talks and events.

I was specifically tasked with helping create an exhibition on Lincoln’s timeless leadership style.  Under the wonderful and invaluable guidance of Tracey Avant, Ford’s Theatre’s Curator of Exhibitions and a GWU MSTD alum, I helped create the content from the ground up.  We saw our work come to life last Wednesday – when Ford’s held their VIP open house and their ribbon-cutting ceremony for the new Center.  It was such a cool feeling to be part of something so special, and I can never thank Tracey and Ford’s Theatre enough for the wonderful opportunity!

-Chris Brusatte, GW MSTD Student

Find more information on the opening of the Center for Education and Leadership at Ford’s Theatre here!

As you may be aware, the Museum Studies Program has recently relocated to an off-campus office suite located at 13^th and G Street, NW.  Although daunting and time consuming, this move has been successfully completed in time for the beginning of the Spring 2012 semester!

The move satisfied The George Washington University’s effort to stay under the DC government-imposed student population cap. Since Museum Studies is a graduate only program and does not teach undergraduate students, the majority of whom live on or near main campus, GW decided to move us. We are closer now to our Smithsonian classes and the DC museum community. It is about a 15-minute walk from campus, near a Metro Center exit.

The new space includes a large classroom seating approximately fifty students, a small classroom/conference room seating around twenty-five students, a computer lab, a student lounge, a pantry, a copy room, and eleven offices. The classrooms have state of the art technology. For more information on the move, please read Cory Weinberg’s “Museum Studies’ move off Foggy Bottom helps satisfy enrollment restrictions,” in the GW Hatchet!

An Open House will be held in the new offices in February for students, alums and GW colleagues.

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[i] Cory Weinberg, “Museum Studies’ move off Foggy Bottom helps satisfy enrollment restrictions,” The GW Hatchet (2012) accessed January 24, 2012, http://www.gwhatchet.com/2012/01/23/museum-studies-move-off-foggy-bottom-helps-satisfy-enrollment-restrictions/.

The National Museum of African American History and Culture accepted two authentic Ku Klux Klan robes on Monday. In the past, displaying artifacts from historical perpetrators has been considered ethically questionable, but Sandra Parks, donor of the robes and widow of activist Stetson Kennedy, explains “the purpose of the gift was to show the world the absurdity of an American terrorist organization from the inside…[and that] more Americans will come to understand the significance and the bravery of the people who fought against this powerful and destructive organization.”[1] Stetson Kennedy actually acquired one of the robes after infiltrating the Klan and rising though its security forces ranks. Through focusing on the activists who fought against the Klan, instead of the Klan itself, the artifacts might be more readily accepted and less controversial. Lonnie Bunch, the founding director of the National Museum of African American History and Culture, says that “in some ways you can’t understand the African American experience until you understand the depth of the struggle,” which can be shown through the Klan’s robes.[2]

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[1] Trescott, Jacqueline “Smithsonian accepts Klan robes for future museum.” Washington Post (2011). Accessed November 29, 2011, http://www.washingtonpost.com/blogs/arts-post/post/smithsonian-accepts-klan-robes-for-future-museum/2011/11/28/gIQAyVu15N_blog.html. Photo courtesy of this source -  By: Michael R. Barnes / Smithsonian Institution – NMAAHC

[2] Trescott, Jacqueline “Smithsonian accepts Klan robes for future museum.”