April 30, 2008
April 25, 2008
The New Standard Facility Report Unveiled
Whether digitizing collections, developing conservation techniques, or discovering previously unknown astral bodies, folks here at the Smithsonian are always on the cusp of the next big thing. SITES' head registrar Christina Schwartz is no exception.
Leading the American Association of Museum's (AAM) registrars' committee, Chris recently finished updating the "standard facility report," the often-maligned document so crucial for museums wanting to borrow objects. The report is a technical look at your building from the ground up: How safe is it? Is the HVAC system working properly? Does the site have a secure loading dock? Are the galleries flooded with afternoon light? Indeed, 95% of lenders won't give you that much-desired painting or sculpture if you DON'T have a current facilities report (within the last three years).
Because of limited resources or aging facilities, small museums (and even some mid-sized museums) may have difficulty with some of the questions in the report. Fear not. Local fire departments, security companies, and HVAC operators will have answers. If you're in the market for free services, peruse your rolodex for colleagues at larger museums who might be willing to offer advice and/or unused equipment (hygrothermometers, for example, to measure temperature and humidity). No matter what your situation, you should strive to complete the report. (Don't forget, having a current and complete document is also necessary for museum accreditation.)
Chris acknowledges that first-timers may find the questions a bit intimidating, and that's okay. What most lenders want to see is that an institution took the report seriously and worked diligently to fill in the gaps. Transparency is important. This is not the place where "I don't recall" is an appropriate response. If you're truly unable to come up with answers, there is help out there. The AAM hosts a great list-serv, where folks can ask just about any question and receive a number of varied, erudite solutions from registrar's who know what's what. Chris also cites a fantastic AAM-sponsored mentoring program that matches museum neophytes with seasoned professionals willing to lend a hand.
For larger institutions that have already completed a standard facilities report, you'll notice a few additional questions in the new version, helping to increase the level of understanding between lenders and borrowers. Don't roll your eyes. The minutia is important. The ultimate goal is to raise the level of professionalism and provide the best care for our treasured objects. When all the gray areas become black-and-white, there's much less room for errors and misunderstandings.
Want to get a copy of the new "General Facility Report"? Visit Chris at her AAM session this Sunday in Denver at 2:15 p.m. The report will also be available from the AAM's bookstore.
April 15, 2008
What's New Online? Using Web 2.0
I'm just off the plane from snowy Montreal, where this year's Museums and the Web conference was held and where discussions centered on the use of Web 2.0. Chances are if you're reading SITES' blog, you're already quite familiar with the uses (and misuses) of this newish technology. Blogs, wikis, Flickr, social networking, YouTube--these are the buzz words for the Web 2.0 generation. But how do we use these platforms (wisely)? Should museums/cultural institutions care? Should we be afraid of losing control of vetted, academic content?
Yes, we should care. Non-profits are often are the last to jump on the technology bandwagon, yet this is one case where we should embrace what's out there. Web 2.0 has great potential for museums, encouraging more active, more meaningful visitor participation--a tangible means of getting visitors hooked and thinking after they walk out the museum's doors. Still, it's not entirely self-serving. People get something out of contributing, whether a photo on Flickr or content that's been shared on a museum wiki, there's a satisfaction in making connections with like-minded individuals, in knowing that curators may be shaking their heads and saying, "Well, I never thought of it that way."
A handful of folks admitted that you just have to change your plan-everything-years-in-advance attitude and see what happens. You don't know where the content/commentary will go until it's up there. Gail Durbin of the Victoria & Albert Museum in the UK was a big advocate for this kind of "learning by experiment" as were others who admitted you just have to wait, watch, and wonder how your project will evolve.It's a very organic process.You have to let it flower and just continue to trim back the dead blooms.
That leads us to the second question. Should we be afraid of losing control? I heard this particular comment from all the leading museums. "We want to use x,y,z technology, but we're apprehensive about blurring the line between our well-researched materials and unsubstantiated 'facts' from the public." Some participants insisted that you should visually establish a clear distinction. Perhaps there's obvious "official" information in one area and more dynamic, user-generated content in another. Remember, you can moderate commentary. You can offer a policy that indicates what is legitimate and what will be removed.
What about not-so-complimentary feedback? Don't worry about Negative Nancy, who tells you that your exhibition brochure wasn't worth the paper it was printed on. The great thing about a loyal social network is that the group will often come to your defense. It's all about strong building relationships--whether real or virtual.
April 03, 2008
Running the River with John Blaustein
John Blaustein, a veteran photographer from Berkeley, California, is just one of 26 artists featured in the upcoming SITES exhibition Lasting Light: 125 Years of Grand Canyon Photography. Run the river with John as he talks about getting one of his most compelling shots:
"As a river guide, I made dozens of trips through the Grand Canyon. On a cool, stormy day, we had stopped for lunch on a little beach at the mouth of 140-Mile Canyon, the halfway point through the Grand Canyon. Munching on a sandwich and waiting for the inevitable afternoon thundershower, someone glanced up the talus slope and noticed this bighorn sheep perched on a rock surveying the boats and all the people.
While I'd seen dozens of bighorn over the years, this was the closest I'd ever been to one. I ran to my boat, grabbed my camera with a 200mm lens and started climbing the slope toward the sheep. When he noticed me approaching, he took a few steps up the slope and then hopped onto a big boulder, putting himself in a silhouette from my point of view. Not only that, his pose was a perfect profile, and then he had the courtesy to turn his head right toward me. I shot two or three frames before he turned and vanished up the slope. Lots of luck is involved with this kind of photography--the perfect pose, the perfect steel gray sky, and being there to shoot it!"
March 31, 2008
New Podcast on Jim Henson
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!
March 27, 2008
Walking with Giants in Nashville
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.
March 25, 2008
Kermit and Friends in Mesa, Arizona
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.
March 10, 2008
From the Development Department: Part II
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!
March 03, 2008
Tips from SITES Development Department
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.
February 29, 2008
SITES Remembers Civil Rights Leader
In her own words, SITES director of scheduling and exhibitor relations Michelle Torres-Carmona recounts a meeting with civil rights activist Johnnie Carr in Montgomery, Alabama.
"One of the most rewarding aspects of my job at SITES is attending exhibition openings. I was reminded of this when I learned Mrs. Johnnie Carr had passed. Up until her death, Mrs. Carr was the president of the Montgomery Improvement Association, a position she held since 1967, after the previous president, Dr. Martin Luther King moved on to a lead a national movement. I had the pleasure of meeting Mrs. Carr in December 2005, during the opening of 381 Days: The Montgomery Bus Boycott Story at the Alabama State Capitol.
There were multiple events taking place in Montgomery that week--the 50th anniversary of a milestone in our country’s history. While my visit was filled with many wonderful memories, too many to share in a blog entry, one moment truly stood out. It included a conversation with Mrs. Carr, Dr. Joseph Lowery, and Congressman John Lewis (also in Montgomery to take part in the activities). These three icons of the civil rights movement were waiting to tape an episode of the Tavis Smiley Show. Before they went on, they began to talk about their friend, Martin. I looked at Lori Yarrish, deputy director of SITES, because at that precise moment, we felt so honored to be listening to this conversation.
To the world, he was Dr. Martin Luther King, but to Mrs. Carr, he was simply "Martin." She talked about his sense of humor; she even recounted a few jokes, noting Martin could be quite the jokester. Given his iconic status, we sometimes forget Dr. King was also a human being. It was truly a special moment, Lori and I were both struck at the clarity of Mrs. Carr’s memory as she talked about Dr. King. She was, after all, ninety-four years young.
We will forever remember Mrs. Johnnie Carr. Her sacrifices and contributions have given African American women and all Americans so many opportunities today. Thank you my freedom sister."
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