« February 2008 | Main | April 2008 »
Tired of listening to those same 2,000 songs on your iPod or .mp3 player? Want to hear something different? Download our latest podcast about Jim Henson's Fantastic World, a glimpse into the life of true American original.
Can't wait for opening day at the ballpark? Download Beyond Baseball: The Life of Roberto Clemente to get you ready for that first pitch! This one is sure to move and motivate you!
If you haven't heard of Hatch Show Print in Nashville, Tennessee, it's about time that you do. This working letterpress is steeped in the traditions of yesteryear and, through good old-fashioned hard work and craftsmanship, keeps producing fantastic posters for the music biz's biggest names. Here's what Hatch curator and designer Jim Sherraden had to say about his home away from home.
Q. Why is Hatch Show Print relevant today?
A. One of the many things that isn't lost on me when speaking to some of the tens of thousands of people visiting us each year is that each person perceives Hatch differently, each one of them would answer that same question differently, which is why Hatch is relevant at all. From a graphic designer's standpoint, Hatch is relevant because we've survived all the changes in printing technology to become the antithesis of contemporary digital design. Here at the shop, the printer is the designer, and the designer is the printer. All our work is done by hand.
And then for a history buff, we're relevant because Hatch is living history. We keep ink on the blocks and dust off their backs. We're in constant production. If one is a music fan, then Hatch is relevant because the music comes alive, either past or present, when viewing a Hatch poster. From the standpoint of a University graphics or printmaking teacher, Hatch is relevant because we teach through our extensive intern program and host several presentations and workshops every year. From the standpoint of a typography student, we're relevant because we demonstrate daily how type is set and how posters are designed and printed.
Q. Hatch has had some pretty famous clients. Had any memorable dealings with famous folks?
A. I'm always quick to point out that we're surrounded by legends every day in this shop, in the shape of their names on posters or their images on photoplates. This place keeps one humble because so many careers have risen and fallen in the years they've been Hatch customers. I'm also proud of the people who feel they can stop by and say hello, show their friends around and be proud as Nashvillians of the heritage of Hatch. Recent guests have included Norah Jones, Gillian Welch, John Prine, Joaquim Phoenix, Chris Isaak, the band Weezer and my dog Rudy. He's famous with the cats--famous for chasing them.
Q. What's your favorite poster in the collection and why?
A. My favorite poster in the collection is, and always will be, the last one we printed before we lock the door and go home because it means that Hatch is still printing, still in business, still relevant in the twenty-first century.
American Letterpress: The Art of Hatch Show Print is a new exhibition by SITES and will begin its national tour later this year.
These days, the phrase "going green" means something completely different than it did back in the '70s. For many of us, the green craze blossomed with our first glimpse of lovable Kermit the Frog, on stage with say an equally affable Linda Ronstadt or John Denver. We adored our amphibian friend then, and even this generation of hard-to-impress youngsters finds him hard to resist, along with the green guy's colorful comrades: Miss Piggy, Fozzie Bear, the Sesame Street Gang, and all the rest.
The man behind these well-known and much-beloved characters is the subject of "Jim Henson's Fantastic World," a wildly popular SITES exhibition touring the country until 2011. So far, this exhibition has been a huge hit, not only because we all have a soft spot for Kermie but because of well-planned special events, programs, and fund raising efforts.
"The most rewarding thing," said development officer Jennifer O'Keefe, "was that most of these kids had never been to the museum or even any museum. In the case of one painfully shy visitor, the puppets and hands-on activities encouraged her to open up a little. By the end of the day, she was laughing and participating right along with the other kids."
That, my friends, is what it's all about, and I think Kermie would agree.
If you read last week's post--an interview with two of our development mavens--you'll know that there's a great deal to consider when approaching a potential donor/sponsor. This week, Jennifer and Marissa offer more practical advice on how to reel in the big fish.
1. Don't know whom to contact or how to find the right person with whom to speak? Start with basics, like the the company's website. Find some contacts in the marketing department and start those phone calls. Don't get too discouraged. You'll eventually find someone who can help. PERSEVERE!
2. If blind calling is not your gig, go to your chamber of commerce. Start on the local level. Perhaps there's a company/business that would like to do outreach or tap into a different market.
3. Talk to other organizations in your area. Who sponsors them? Have they gotten results from x,y, or z business? Sometimes, competing organizations can be reluctant to relinquish those details, but printed programs and brochures speak for themselves. Was the name of an area car dealership on the cover of museum X's exhibition brochure? They should be #1 on your list to approach.
4. Make connections. There's nothing wrong with requesting an informational interview with someone in a business. Ask them what kind of programs/projects they'd be interested in sponsoring. This is not to say you're putting the cart before the horse: it's all about gathering data.
5. Put your institution out there. Rent out your facilities for seminars, professional meetings, and even weddings. You'll be creating valuable name recognition as well as letting people know that you're already well-known in the community.
Looking for another way to fund a SITES-related exhibition? Apply for a community grant!
We're lucky enough to have three very talented and resourceful people in our development department, but alas, many small and mid-range museums aren't quite so lucky. With at least 50% of the museums out there, the director is the chief financial officer, and the curator may be the volunteer coordinator, the education specialist, and the registrar. What this means for most museums is that staffers wear many hats, some which are flattering and fit perfectly, others of which just don't fit at all. So, for those of you out there sporting multiple hats, here's part one of our series on fund raising with development specialists Marissa Hoechstetter and Jennifer O'Keefe:
1. Create a development policy that all of your staffers understand and can reference at events or when talking to potential donors. This is a kind of collective agreement about what you can and can't do to woo your potential sponsors. For example, if it isn't feasible that your institution rename part of the building after a big donor, make sure that that prospect is never on the table. Anyone who is going to be soliciting funds should know that for a certain dollar amount, sponsors can get x,y, and z, and for a larger amount x,y,z, and q are possible.
2. Think outside the box and be creative about who you approach for money. This requires looking at all dimensions of your program/project. What does the program/project have to offer the sponsor? Are there less obvious elements of the program that might be of interest to donors?
3. Come up with a comprehensive list of people/businesses that you'd like to approach and refine this list with your colleagues. This is where personal relationships come into play. Does your colleague's husband know potential donor Mr. Smith? Perhaps, he might help pave the way and introduce you. A different approach is to invite potential sponsors/donors to events and exhibitions when you don't need anything from them. This just puts you on their radar screens and lets them know that you have a strong presence in the community.
2. What can you offer a donor/sponsor? Of course, the rules vary on this depending on institution, but the sponsor's name in print is always attractive--on brochures, banners, or in press releases. Perhaps the donor has a chance to speak at press previews or at the exhibition's opening reception. Start small. When you make an offer, chances are the donor/sponsor will come back with a counter offer that you can negotiate. Be as up front as possible and specify a dollar amount that you'd like the donor/sponsor to contribute.
Find this information helpful? Part two of the interview will appear next week.
Recent Comments