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INSIDE S E MC fall 2017 | www.semcdirect.net The Newsletter of the Southeastern Museums Conference

ON THE COVER Stuart Davis, New York Mural, 1932. Oil on canvas. 84 x 48 in. Norton Museum of Art, West Palm Beach, Florida;

purchase, R. H. Norton Trust. From the Crystal Bridges Museum of American Art’s exhibition Stuart Davis: In Full Swing.

9 Executive Director’s Notes Susan Perry

Thank You to Our Sponsors, Exhibitors, Hosts, and Committees for SEMC Annual Meeting 2017 New Orleans SEMC 2017 Award Winners

SEMC 2017 Scholarship Recipients Share Their Experience Curator’s Corner: Framing Diversity, Inclusivity, and Pluralism in Curation at a Community-Specific Art Gallery Aja Roache Hurricane Recovery and Response

51 2

94 A Special Thanks Endowment and Membership Contributions

68 Congratulations 72 Exhibitions 82 People and Places 98 What’s Happening 99 Important Dates 100 SEMC Job Forum 100 Get Social with SEMC 100 SEMC Membership Form 101 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 dmacmahon@flmnh.ufl.edu Director of Exhibits & Public Programs, Florida Museum of Natural History, Gainesville, FL

Zinnia Willits Vice President zwillits@gibbesmuseum.org Dir. of Collections & Operations, Gibbes Museum of Art, Charleston, SC

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: membershipservices@SEMCdirect.net

Robin Seage Person Secretary rsperson@bellsouth.net Branch Director, Historic Jefferson College, Washington, MS

Robin Reed Treasurer

Inside SEMC is published three times a year by SEMC. Annual subscription is included in membership dues. Design: Nathan Moehlmann, Goosepen Studio & Press

rreed@fmauthority.com Director, Casemate Museum, Fort Monroe, VA

David Butler Past President dbutler@knoxart.org Executive Director, Knoxville Museum

The deadline for the Winter/Spring 2018 newsletter is December 28, 2017. To submit information for the newsletter, please contact the Council Director in your state.

of Art, Knoxville, TN

semc directors Kyle Elizabeth Bryner

Elise LeCompte

kbryner@theMSV.org|

lecompte@flmnh.ufl.edu

Registrar & Collections Manager

Registrar & Asst. Dept. Chair,

Museum of the Shenandoah Valley,

Florida Museum of Natural History,

Winchester, VA

Gainesville, FL

Alexander Benitez

Deborah Mack

avbenitez@ua.edu

mackdlynn@si.edu

Moundville Archaeological Park,

Assoc. Dir. Office of Strategic Partnerships

The University of Alabama,

Smithsonian’s National Museum of African

Moundville, AL

American History and Culture, Wash., D.C.

Julie Harris

Catherine M. Pears

jharris@riverdiscoverycenter.org

cpears@lsua.edu

Executive Director, River Discovery

Executive Director, Alexandria Museum

Center, Paducah, KY

of Art Alexandria, LA

Brian Hicks

Michael Scott

director@desotomuseum.org

michael.scott@highpointnc.gov

Director, Desoto County Museum,

High Point Museum

Hernando, MS

High Point, NC

Jenny Lamb

Deitrah J. Taylor

jenny.lamb98@gmail.com

dtaylorhistorian@gmail.com

Discovery Center at Murfree Spring,

Milledgeville, GA

Murfreesboro, TN

Heather Marie Wells heathermarie.wells@crystalbridges.org Digital Media Project Manager, Crystal Bridges Museum of American Art, Bentonville, AR

executive director’s notes At the SEMC 2017 Annual Meeting, we celebrated art, history and culture in New Orleans. A highlight was parading down Canal and Chartres Streets following the New Orlean’s brass band to the Louisiana State Museum’s Presbytére on historic Jackson Square. The off-site tours, workshops, and evening events were awesome at NOLA’s art and history museums. New Orleans created magical moments from a quiet courtyard to fun spontaneity to ironwork balconies to a rooftop sunset to delicious food. Keynote speaker Jessica Harris encouraged us to consider culinary history and culture in our museums. We ignited a vision of museums that foster equity, impact diverse audiences, and encourage accessibility. Museum leaders stood up to inspire change in our communities. At the time of the conference, hurricanes hit our region so many colleagues were directly impacted by these storms and continue recovery efforts. SEMC speaker Lori Foley, Heritage Emergency National Task Force, Federal Emergency Management Agency, headed to Florida as residents evacuated. SEMC President Darcie MacMahon moved 400 artifacts from St. Augustine. Many Southeastern museums are located in coastal communities that are the most vulnerable to hurricanes and flooding. We are working on communication, disaster response, and relief networks for recovery assistance. This fall we faced the reality of our museums’ challenges as we move forward to impact our museum communities. — Susan Perry, Executive Director 6

Thank You to Our Sponsors, Exhibitors, Hosts, and Committees for SEMC Annual Meeting 2017 New Orleans SEMC 2017 Annual Meeting Sponsors GOLD SPONSORS 1220 Exhibits, Inc. (Evening Event at the National WWII Museum) Leslie Hindman Auctioneers (Director/Trustee Reception) SILVER SPONSORS Collector Systems (General Session/Keynote Speaker) Gallagher & Associates (tote bags) National Museum of African American History & Culture, Smithsonian Institution (McKenna Museums off-site tour) Solid Light, Inc. (General Session/Keynote Speaker) WSP (General Session/Keynote Speaker) BRONZE SPONSORS Alexander Haas (Director/Trustee Luncheon) DLR Group (Director/Trustee Luncheon) L. Carole Wharton, LLC (conference reception)

Lucullus Culinary Antiques, Art & Objects (SEMC Council’s Legacy Reception) Solomon Group (Director/Trustee Luncheon) Sun Trust (Registration Table) Travelers (Director/Trustee Luncheon) RESOURCE EXPO SPONSORS Malone Design/Fabrication (Grand Opening Reception) Old New Orleans Rum (Grand Opening Reception) Our Fundraising Search (Grand Opening Reception) Riggs Ward Design (Grand Opening Reception) LANYARD SPONSOR HealyKohler Design MOBILE GUIDE SPONSORS CultureConnect (NOLA) OnCell (Conference Program) SEMC SCHOLARSHIP SPONSORS SEMC 2016 Silent Auction (SEMC Traveling Scholarships) 9

Darcie MacMahon (President’s Scholarship) John A. Woods Appraisers (Historic House Museum Professional Scholarship) Lunney House Museum Directors Scholarship (Historic House Museum Professional Scholarship) SERA SPONSORS Transportation Consultants International (Registrars Respite co-sponsor) Willis Towers Watson (Registrars Respite co-sponsor) Past Perfect (Dan Silosky Award for Excellence in Collections Management and Registration) Dietl International (two SERA travel scholarships) Gaylord (SERA member discount) EVENING EVENT HOST MUSEUMS Contemporary Arts Center Louisiana State Museum New Orleans Botanical Garden New Orleans Museum of Art Ogden Museum of Southern Art The National WWII Museum

OFF-SITE TOUR/PROGRAM/ WORKSHOP SPONSORS Beauregard-Keyes House and Garden Museum Hermann-Grima House Historic New Orleans Collection New Orleans Museum of Art Ogden Museum of Southern Art Southern Food & Beverage Museum The McKenna Museums – George and Leah McKenna Museum of African American Art & Le Musee de f.p.c. The National WWII Museum RESOURCE EXPO EXHIBITORS 10-31 1220 Exhibits, Inc. American Alliance of Museums ANR Transport, LLC Aon/Huntington Block Insurance Agency, Inc. Artemis Fine Art Services Available Light Belfry Historic Consultants 12

Blair Building Four Fabrication Charlotte Van & Storage Cinebar Productions, Inc. Collector Systems Conservation Center for Art & Historic Artifacts Costume Society of America Creative Arts Unlimited, Inc. Culture Connect Daruma Tech Delta Designs Ltd. dmdg2 Dorfman Museum Figures ERCO Lighting Exhibit Concepts, Inc. Explus FedEx Custom Critical Four Colour Print Group Frina Design Gaylord Archival GlavĂŠ & Holmes Architecture

Goosepen Studio & Press Gunnar USA, Inc. HealyKohler Design HW Exhibits ICOM-US Interactive Knowledge Leslie Hindman Auctioneers ListenUp Audio Louisiana Association of Museums Mallory International Malone Design/Fabrication Manask & Associates MasterPak, Inc. MBA Design & Display Products Method-1 Museums Mid-America Arts Alliance National Association for Interpretation OnCell Q Media Productions, Inc. Quatrefoil Associates Riggs Ward Design 15

Rising Museum Board Skinner, Inc. Solid Light Solomon Group stabaArte Studio Displays, Inc. The Design Minds, Inc. The Donning Company Publishers The National WWII Museum Think Proxi Thrive Pay Tour-Mate Systems Limited Universal Fiber Optic Lighting LLC University of Oklahoma College of Liberal Studies VIP Transport Fine Arts Services WSP LOCAL ARRANGEMENTS COMMITTEE Allison Reid, New Orleans Museum of Art (Co-chair) Dawn Hammatt (Co-chair) William Pittman Andrews, Ogden Museum of Southern Art

Julia Bland, Louisiana Children’s Museum Kate Carter, Historic New Orleans Collection Mamie Gasperecz, formerly at Hermann-Grima House Kenneth Hoffman, The National WWII Museum Nicole Huchison, Signature Destination Management Kathe Hambrick Jackson, River Road African American Museum Priscilla Lawrence, Historic New Orleans Collection Russell Lord, New Orleans Museum of Art Yvonne Mack, Louisiana State Museum Amanda McFillen, Historic New Orleans Collection Tony Micocci, Arts Administration Program, University of New Orleans Kelsey Parris, Southern Food & Beverage Museum Ted Pennison, Convention Sales Manager Emily Smith, New Orleans Convention & Visitors Bureau Sarah Story, Ogden Museum of Southern Art Miriam Taylor, formerly at Ogden Museum of Southern Art Stephen Watson, The National WWII Museum Liz Williams, Southern Food & Beverage Museum Warren Woods, Historic New Orleans Collection

SEMC 2017 Award Winners The Southeastern Museums Conference (SEMC) is proud to announce the winner of the 36th annual James R. Short Award, the most prestigious recognition of service to the museum profession in the southeast. This year, SEMC will also confer the Outstanding Service Award, Emerging Museum Professional Award, and the Distinguished Contributor Award. Winners were chosen from a wide range of entries across the Southeastern United States. The SEMC Awards Committee, co-chaired by Julie Harris, Catherine Pears, and Robin Reed, honors outstanding colleagues who have helped shape the world of museums.

James R. Short Award Recipients Gordon H. “Nick” Mueller, PhD, Founding President & CEO Emeritus, The National WWII Museum, New Orleans, LA, is one of this year’s recipients of the James R. Short Award. An inspired builder and educator, Nick has been essential to the founding and steady development of America’s National WWII Museum. Beginning in 1990, Nick partnered with his friend and fellow historian Stephen E. Ambrose, PhD, to create a nonprofit organization with a mission to plan, design, and operate a D-Day museum honoring Americans and other Allied forces that stormed the shores of Normandy in 1944. Over the years, Nick’s leadership and ability to

Gordon H. “Nick” Mueller.

build support around the country—the Museum now has more than 156,000 members with representation in every state—helped the Museum overcome several daunting challenges, including Hurricane Katrina in 2005. The institution and now attracts nearly 700,000 visitors each year. ¶ Prior to opening the Museum in 2000, Nick earned a stellar reputation as a history 21

at five museums: West Virginia State Museum, Grave Creek Mound Archaeological Complex and Research Center, West Virginia Independence Hall, Museum in the Park and Camp Washington-Carver, with each site telling a unique story about the state’s prehistoric and historic heritage with permanent and rotating exhibits.

Outstanding Service Award Recipient

Charles W. Morris III.

professor, administrator, and creator of new programs—including a celebrated international summer school program—at the University of New Orleans, where he made his mark as a popular teacher, dean, and vice chancellor. Charles W. Morris III, State Museums Director, West Virginia Division of Culture & History, Charleston, WV is also one of this year’s recipients of the James R. Short Award. In the 40+ years he has served the State of West Virginia, Charles has played an essential role in preserving and celebrating West Virginia’s heritage through heirlooms, artifacts, and fine art pieces. Charles’ dedicated history with the State Museum began in 1976 when he joined the staff as a part-time student, and has since served as a guide, assistant, and director of collections and exhibitions. He has managed the conservation program, maintained budgets, developed the management system, created an accession register, and designed and developed museum exhibits. With this experience and vision, Charles leads an innovative staff

Bob Beatty, President, The Lyndhurst Group, LLC, Franklin, TN is this year’s recipient of the Outstanding Service Award. Bob has spent almost twenty years as a leading advocate for museums and historic organizations in the Southeast. From 2007-2017, he led groundbreaking initiatives for the American Association for State and Local History (AASLH), a sister organization of SEMC. Among Bob’s accomplishments are his position as editor of History News, AASLH’s quarterly magazine that includes critical articles on how to make the business of history relevant to the public as well as technical assistance for museum and history professionals; as well as supervising the staff who implemented the Standards and Excellence Program (StEPs) that has provided a way for small museums and historical organizations to meet industry-wide standards; and providing oversight for the AASLH annual meeting, one of the leading professional development conferences in the museum industry. ¶ Since 2016, Bob has taken all that he has learned through his various positions with AASLH and created his own consulting firm, the Lyndhurst Group. The firm prides itself on communityfocused engagement strategies, taking the accepted standards of the museum and history industry to make it relevant to communities and interested stakeholders. The firm focuses on all aspects of the industry including strategic planning, fundraising, and exhibitions. ¶ From Bob: “I want to express to the entire SEMC community my profound gratitude for being the recipient of your 2017 Outstanding Service to the Museum Profession Award. Recognition by your peers for work you’ve done for the field is one of the greatest professional honors one can receive. ¶ Thank you all for this acknowledgment but more than that, my thanks each of you for the work you do every day. It is you who carry the load on a daily basis and it is you those of us in the museum service profession serve. ¶ We do profoundly important work and I am proud to have worked side-by-side with you in advancing those efforts.” 22

Bob Beatty.

Emerging Museum Professionals Award Recipient Martha Tye, Director of Marketing and Online Media, Atlanta History Center, Atlanta, GA, is this year’s recipient of the Emerging Museum Professionals Award. Martha began her tenure at the Atlanta History Center in 2013 as an intern in the marketing and communication department, and has since grown within her role and talents to become the Director of Marketing and Social Media. In her elevated leadership roles through the years, Martha has made contributions to the History Center, the surrounding community, and in turn supported the roles and relevance of Southeast museums. ¶ Over the years, Martha has participated in the development of several community partnerships and increased the History Center’s presence in new and exciting ways. She has been instrumental in serving as co-chair of the Party with the Past committee, a young professional initiative engaging millennials with Atlanta’s rich history as well as a major proponent in launching Hidden Midtown, the Atlanta History Center’s community outreach initiative. ¶ Additionally,

Martha Tye.

Martha’s role in supporting the History Center’s rebranding project included leading the project management, and in turn the development of a completely newly rebranded website. The task required working across multiple internal departments, and external stakeholders, to bring all together for the common vision of the Atlanta History Center’s new online presence. In conjunction with the launch of the new brand, she was tasked with leading the development and execution of a complete social media strategy that has gained more than 18,000 new and engaged followed across core social media platforms within the past year.

Distinguished Contributor Award Recipient Frank Watson III (posthumously), President, Charlotte Van & Storage, Charlotte, NC, is the recipient of this year’s Distinguished Contributor Award. An exhibitor for many years at SEMC and numerous state museum annual meetings, Frank was adored by his museum colleagues for his sincere warmth, 23

To a standing ovation, Frank Watson IV receives the Distinguished Contributor Award on behalf of his father.

Frank makes the rounds through an SEMC exhibit hall.

Frank with his son, Frank IV.

good humor, kindness, and generosity. Frank’s father founded Charlotte Van and Storage Co., Inc., in 1955, with Frank serving as President of the family business from 1981 until 2011. Frank’s generosity extended to many organizations, with his obituary comprised of an extraordinary list of philanthropic, civic, and educational organizations he served, often as a leader: he was President of the NC Movers Association, President of 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. ¶ Frank was truly valued by the museum community across multiple states, and was honored by the North Carolina Museums Council this past March. He is remembered for his “good cheer, inescapable and memorable.” As Nathan Moehlmann noted, “Frank just made you feel good.” The eternal optimist, one of Frank’s sayings about life was “every day is a great day.” 24

Scholarship recipients.

SEMC 2017 Annual Meeting Scholarship Recipients

EMERGING MUSEUM PROFESSIONAL AWARD

AFRICAN AMERICAN MUSEUM PROFESSIONAL AWARD COSPONSORED WITH AAAM

Brittany Cohill, Operations Manager, Beaches Museum & History Park; Jacksonville Beach, FL

Whitney Barrett, Curatorial Fellow, Mary McLeod Bethune Foundation House; Daytona Beach, FL

Jonnie Dietz, Exhibit Developer & Outreach Coordinator, Florida Museum of Natural History; Gainesville, FL

Delena Feliciano, Visitor Services Manager, Knoxville Museum of Art; Knoxville, TN

Rachel Katz, Director of Membership and Visitor Services, The Breman Museum; Atlanta, GA Nakia Joye Woodward, Senior 25

PROFESSIONAL AWARD Natalie Hefter, Vice President

Clinical Reference Library & Medical Librarian, The Museum at Mountain Home; Johnson City, TN HISTORIC HOUSE MUSEUM PROFESSIONAL AWARD COSPONSORED WITH HHMAG Amanda Finn, Executive

Director, Historic Carson House; Marion, NC Elizabeth Kleinfelder, Visitor

& Interpretive Services Coordinator, Historic Columbia; Columbia, SC SEASONED MUSEUM

of Programs, Coastal Discovery Museum; Hilton Head Island, SC PRESIDENTâ€™S TRAVEL SCHOLARSHIP AWARD Pamela Martin, Museum

Educator, GulfQuest Maritime Museum; Mobile, AL SMALL MUSEUM PROFESSIONAL AWARD Jamie Montague, Assistant

Kathryn (Cassidy) Rayburn,

Bachelor of Science, Major in Anthropology, Minor in History, University of West Georgia; Carrollton, GA Athena Richardson, Master

of Arts in American Studies, Certificate of Museums Studies, University of Alabama, Tuscaloosa; Tuscaloosa, AL

Collections Manager, Man in the Sea Museum; Panama City Beach, FL STUDENT AWARD 26

Exhibition award winners.

SEMC 2017 Exhibition Competition Awards UNDER $10,000

Silver: Alexandria Museum of Art, Beyond Mammy, Jezebel, and Sapphire: Reclaiming Images of Black Women Gold: Orange County Regional History Center, One Year Later: Reflecting on Orlandoâ€™s Pulse Nightclub Massacre

The Columbus Museum, The We of Me: The Chosen Families of Carson McCullers

Asheville Art Museum, Vault Visible: Behind the Scenes at the Asheville Art Museum 27

Exhibition award winners.

Bronze: LaGrange Art Museum, In the Land of Pasaquan: The Story of Eddie Owens Martin

Silver: Telfair Museums, Generation: Sawsan AlSaraf, Tamara Abdul Hadi, Sundus Abdul Hadi

UNDER $25,000

Bronze: International Museum of the Horse, Man oâ€™ War at 100: The Mostest Horse That Ever Was

Gold: Cummer Museum of Art & Gardens, LIFT: Contemporary Expressions of the African American Experience 28

OVER $25,000

OVER $100,000

Gold: Georgia Museum of Art, Icon of Modernism: Representing the Brooklyn Bridge, 1883â€“1950 Gold: Georgia Museum of Art, Gifts and Prayers: The Romanovs and Their Subjects

Silver: Marco Island Historical Museum, The Pioneer Era: A Tale of Two Villages

OVER $1,000,000 Silver: Bechtler Museum of Modern Art, Bechtler Collection: Relaunched and Rediscovered

Gold: Atlanta History Center, Gatheround: Stories of Atlanta

Bronze: Anniston Museum of Natural History, Live Salty: Shore to Ocean Floor

Fernbank Museum of Natural History, Nature Stories

Publication award winners.

SEMC 2017 Publication Competition Awards BROCHURES & RACK CARDS

Silver: Bechtler Museum of Modern Art – Celebrating Jean Tinguely and Santaa Honorable Mention: Telfair Museums – Nick Cave Card Gold: Atlanta History Center – Tourism Rack Card Suite

ANNUAL REPORTS Gold: Jule Collins Smith Museum of Fine Art, Auburn University – JCSM Annual Report Silver: Florida Museum of Natural History – Annual Report Honorable Mention: Gibbes Museum of Art – Annual Report Silver: Atlanta History Center – Gatheround Exhibition Family Guide

BOOKS & CATALOGUES

Honorable Mention: Georgia Museum of Art, Modern Living: Gio Ponti and the Twentieth-Century Aesthetics of Design

Gold: Chrysler Museum, Glass, Masterworks from the Chrysler Museum of Art

Honorable Mention: Columbia Museum of Art – Cut! Costume and the Cinema Family Guide

INVITATIONS

Silver: Georgia Museum of Art, Black Belt Color: Photographs by Jerry Siegel

GALLERY GUIDES Gold: Crystal Bridges Museum of American Art – Animals + Creatures Family Guide

Gold: Telfair Museums – Modern Lights, Telfair Ball 31

POSTERS

Silver: Mint Museum of Art – Spring Gala Invitation, Coveted Couture

Gold: Country Music Hall of Fame – Blake Shelton: Based on a True Story

Honorable Mention: Telfair Museums – Nick Cave

CAMPAIGN

Honorable Mention: Crystal Bridges Museum of American Art – Border Cantos Director’s Reception

Silver: Crystal Bridges Museum of American Art – College Night Bloom Bash

Gold: Crystal Bridges Museum of American Art – Chihuly in the Gallery + The Forest

SEMC 2017 Technology Competition Awards APPLICATIONS

Silver: Bechtler Museum of Modern Art – Annual Fund

Silver: Garden Citings – Atlanta History Center

Gold: Kimbell Teen Art Scope (Kimbell Art Museum and Culture Connect)

Honorable Mention: Gibbes Museum of Art – Catesby Exhibition Campaign

NEWSLETTER AND CALENDAR OF EVENTS

Gold: Crystal Bridges Museum of American Art – C Member Magazine

Honorable Mention: Knoxville Museum of Art – KMA’s Canvas Newsletter

Silver: Georgia Journeys (Museum of History and Holocaust Education)

Bronze: Art & History Museums - Maitland Landmark Mobile Tour App (Art & History Museums Maitland and On Cell) 33

Technology award winners.

MEDIA PRODUCTIONS

Gold: Beyond the Fields: Slavery at Middleton Place (Middleton Place Foundation; South Carolina National Heritage Corridor, Sunhead Projects, LLC)

Bronze: Turret Theater (North Carolina Aquarium on Roanoke Island and Cortina Productions) Honorable Mention: TAP Tour: Cut! Costume and Cinema (Columbia Museum of Art)

Silver: Cultural Commons 360Â° Film (Smithsonian National Museum of African American History and Culture, Cortina Productions) 34

GALLERY INSTALLATION

Gold: Personal Stories of Revolution (American Revolution Museum at Yorktown and Cortina Productions)

Bronze: The Pioneer Era: A Tale of Two Villages (Collier County Museums, Marco Island Historical Museum, Creative Arts Unlimited, Inc.)}

DIGITAL EDUCATION

Gold: Virtual Education Tour (Oak Alley Plantation) Silver: Gatheround: Stories of Atlanta (Atlanta History Center, Riggs Ward Design, Terra Incognita, Tomorrow Pictures, Inc., Avyve & Leap Frog Services, Inc.)

Silver: Georgia Journeys (Museum of History and Holocaust Education) 35

DIGITAL MARKETING

DIGITAL CAMPAIGN

Gold: Happy Holidays (Crystal Bridges Museum of American Art) Gold: The Art of American Dance (Crystal Bridges Museum of American Art & Waltz Binaire)

STUDENT PROJECT

Silver: Save the Bunnies (Jule Collins Smith Museum of Fine Art, Auburn University) Silver: Multimedia Storytelling (Asheville Art Museum and UNC Asheville)

Bronze: Atlanta History Center Website (Atlanta History Center, Son & Sons; Kevin Kemmerly)

Student Work in Museums (swim) award winners.

SEMC 2017 Scholarship Winners Share Their Experience This year we awarded scholarships to deserving museum professionals so they could attend SEMC 2017 Annual Conference in New Orleans. Some of them shared with us their experience at SEMC 2017 and the positive impact of the conference.

for the first time so I am very grateful to have received a travel scholarship to attend. The sessions that I attended were very informative and made me excited to take back what I learned to my museum site. Can’t wait for SEMC 2018!

Whitney Barrett

DeLena Feliciano

I had a great time at SEMC 2017! I was able to reconnect with people that I had met at other conferences as well as make some new friends. I was also able to visit New Orleans

I immensely enjoyed my SEMC experience, and not just because it was in a city filled with so many great museums like New Orleans. There is something about being

surrounded by your peers, especially in such a specific field as museums, that really puts things into perspective for you. It gives you a sense of belonging to a community beyond yourself, yet also brings you together on basic common ground. Being able to attend this conference, and partially through my own initiative of applying for a scholarship, gave me a sense of accomplishment that I was taking steps to further my own career. I also experienced the feeling of support from my

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institution and my superiors who wrote my letters of recommendation. My colleagues took pride in the fact that I was chosen to receive a scholarship, which brought me closer them as well and made it a great bonding experience. As a young professional, trying to find my way in this field of very experienced and highly educated colleagues, it really helps to know that organizations like the SEMC take my career seriously, think my job is important, and ultimately consider me someone to invest in as the future of the museum profession. Thank you for this opportunity and support.

Rachel Katz As a first-time attendee, I could not have wished for a better experience at SEMC 2017. I met and made connections with so many amazing museum professionals and cannot wait to begin working on some collaborative programs

that we discussed during our time at the conference. In addition to networking with my colleagues, I was also able to provide advice and assistance to other membership focused professionals through Membership Reboot, the panel in which I participated. Along with Samantha Roberts, Robin Reed and George Bassi, we presented our experiences in redesigning our museums’ membership programs, as well as other ways to problem solve issues endemic to museum membership nationwide. We had a full house, which made me quite proud of our panel, and after our introductions and short descriptions of our own membership experiences, the attendees asked poignant and thoughtful questions right up until the last minute. Not only was this my first experience attending SEMC, but this was my first time ever speaking on a panel — throughout the rest of the conference, I bumped into people who had attended our session and they

told me how helpful our advice was with fixing an issue or inspiring change in their own membership programs. I am so grateful for the opportunity that the scholarship afforded me, and was so glad that my experience was able to help others as well!

Pamela Martin I was selected for the SEMC scholarship President’s Award and wanted to thank you and let you know what a valuable experience it was for me as well as for my museum. I was not only able to get some great ideas for our education department and programming, but I also grabbed some vendor information from the expo for our museum’s other departments. Collaborating with fellow museum professionals was the highlight of my experience. Knowing we are not alone in this small museum world in terms of our dilemmas faced and future

goals was a first for me as a “new” (two years experience) museum professional. I got so much out of the concurrent sessions on social media marketing and the “Ignite SEMC” to take back to my colleagues at GulfQuest. Thank you so much for this opportunity. I am

looking forward to attending future SEMC conferences!

Athena Richardson SEMC was an amazing experience! The rich history and culture of the Crescent City was an amazing

setting to engage and network with museum professionals, while learning about the latest developments in the field before graduation. I am very thankful for the opportunity to attend, and looking forward to SEMC 2018 in Jackson!

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curator’s corner Framing Diversity, Inclusivity, and Pluralism in Curation at a CommunitySpecific Art Gallery Aja Roache ,

Foster-Tanner Fine Arts Gallery, Florida Agricultural and Mechanical University

s director, and in-house curator, of Florida A&M University (FAMU) Foster-Tanner Fine Arts Gallery, a Historically Black College and University (HBCU) art gallery, and as a kind of campus cultural gate-keeper, I encounter topics of diversity and inclusivity in a couple of ways. One way involves attracting and engaging new visitors while selecting works of art relevant to our largely Black student visitor base, which in itself is very diverse. I must also consider what diversity and inclusivity mean within a HBCU art gallery context, where our mission, in part, includes featuring Black artists’ work as well as social and political art centering Black perspectives. For our gallery, diversity and inclusivity initiatives manifest themselves in outreach, education, and curating. Our teaching gallery aims to serve our primary visitors and create an educational space where anyone can learn about visual cultures and art forms of the African diaspora. Diversity and inclusivity initiatives consist of ensuring our outreach is bringing diverse groups to experience art they may not see in other art galleries. We provide docent-led tours developed by curators, artists, and student docents lending themselves to more interactions and accessibility to the art and themes for all visitors. As an educator and curator, developing interactive object labels, text, and interpretive tools is a practice I try advancing with each exhibition. Offering pathways for visitors to make meaning of their gallery experiences and sharing those experiences include hosting art forums with artists, curators and visitors, co-written labels inclusive of visitor voices, as well as offering points of engagement or questions for visitors within the gallery material. Consistent community input in the ways in which art objects are presented, and even ideas for public programming have also enhanced our exhibitions. Our gallery is inherently a pluralistic institution due to our demographically diverse faculty. With a small gallery staff, we often operate with the advisement of our faculty of four. The FAMU art faculty also occasionally curates exhibitions representing their research focus and their cultural backgrounds. For example, we feature a successful annual Chinese art exhibition, curated by a faculty member from Beijing, and have featured several cross-cultural South African contemporary art 45

exhibitions from a faculty member who has conducted extensive research there. â€ƒRegardless of museum and audience type, art museum administrators are tasked with ensuring their sustainability from year to year. Creating methods for more visitors, funds and relevancy, we must

develop ways to attract diverse audiences. Our art gallery has, over the decades, primarily explored Black and African artists, in part, filling in where mainstream art museums do not with regard to integrating Black artists or curators. This, for me, is part of our commitment as a community-specific art gallery to offering all 46

Student “Art Walk and Talk” for Spring Graduating Senior Exhibition, April 2016.

communities an opportunity to see art and curatorial perspectives often underrepresented elsewhere. Learning to communicate effectively with different groups of people and include diverse cultural perspectives is a cornerstone of our galleryâ€™s fifty-year legacy as well as honoring our mission of focusing on art by Black artists and perspectives.

Opening reception, FAMU Fine Arts faculty and FAMU administrators. Lâ€“R: Harris Wiltsher (Fine Arts Facilitator and Professor of Printmaking), Dr. Rodner Wright (FAMU Provost), Dr. Robin Poyner (University of Florida guest speaker, Robin Poyner), Dr. Larry Robinson (President of FAMU), Dr. Courtnay Micots (FAMU Professor of Art History), Aja Roache (Gallery Director and Professor of Museum Studies), Dr. Nan Liu (Professor of Painting and Drawing), October 2017.

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Hurricane Recovery and Response SEMC shared recovery resources for cultural institutions and museums impacted by the recent hurricanes that devastated our region and beyond. For our newsletter, we wanted to share stories about responses and recovery. Here are some of those responses.

“This event [Museums Association of the Caribbean Annual Meeting October 23–26, 2017 in Miami] though grand is bitter sweet because of the destruction that has occurred due to the recent passage of major hurricanes Irma and Maria. Many museums in the eastern and northeastern Caribbean as I am sure some institutions here in Florida, suffered much damage. In the eastern Caribbean there is in some cases total loss. Despite these losses, I believe it’s an opportunity for growth, and where possible, start with fresh eyes and new mindset about the concept of our museums and how our stories are told. Not just legacy of colonialism but a clean slate on which to build our own story. The idea of virtual museums is an idea open for exploration in this case. Overarchingly, however, will be our support as museum professionals and institutions to lend our hands in aiding our colleagues in their rebuild, redevelopment and reopening of their spaces. ¶ Truly, the theme ‘Beyond boundaries: transcending geographies, disciplines and identities’ resonates more now than ever before.” — Dr. Sherene James-Williamson, Lecturer

Vizcaya Museum and Gardens, Miami.

& Museum Curator, President Museums Association of the Caribbean, Editor Caribbean Journal of Earth Science, Editor Caribbean Museums, University of the West Indies, Mona Campus,Department of Geography and Geology

Vizcaya Museum and Gardens was significantly impacted by Hurricane Irma. The museum has seen serious tree damage in the Rockland Hammock and saltwater in the gardens, flooding in the Café and basement, as well as damage to the Tea House and Yacht Landing. Yet through this hardship, Vizcaya also experienced something wonderful — the overwhelming support of the community. The estate proudly welcomed more than 500 volunteers for cleanup efforts and received an out pour of concern and encouragement through social media. ¶ Thanks to the tireless efforts of both staff and supporters, Vizcaya reopened to the public sooner than expected on Monday, October 2, 2018, and continues to offer a rich selection of programs as additional recovery and repairs progress. For the latest information on Vizcaya’s post-hurricane status and updates on restoration projects, follow us on Facebook (@VizcayaMiami) and Twitter (@VizcayaMuseum).

ripped its way across the roof creating numerous leaks across the front 1/3 of the structure. As inches of rain poured, the leaking saturated ceiling tiles and insulation that proceeded to crumble, crushing down into the collections storage space, soaking archival boxes, artifacts, financial records, and more. Staff acted as soon as the county safety curfew was released and managed to save, and do a preliminary conservation on, a few thousand artifacts within four days rescuing every item. Due to saturation, and ongoing leaks being found in the roof, many of the ceiling tiles have been replaced multiple times and the many of the walls needed to be ripped out and replaced due to mold growth. The process is slow and painstaking, staff of the History Center encourages every museum to reevaluate its emergency management policies to ensure they will actually be helpful in a time of need.”

— Alejandra “Alex” Serna, Digital Communications

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Manager, Vizcaya Museum and Gardens

“Though Orlando was spared much of Hurricane Irma’s wrath, the 13,000 square foot climate controlled storage of the Orange County Regional History Center in Orlando was not left unscathed. ¶ During the storm an air conditioning hatch that had been secured down with just four short screws detached, and with metal corners

— Pamela Schwartz , Chief Curator, Orange County

Happily, the American Association for State and Local History (AASLH) announced the twenty-six recipients of Hurricane Cultural Relief Fund mini-grants to aid organizations in disaster recovery from Hurricanes Harvey and Irma. This fund, initiated in September, raised $14,000 to provide emergency funds for organizations to use for recovery supplies, restoration work,

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and salvage activities necessitated by the storms. ¶ “Seeing the devastation across parts of Texas the week before the AASLH Annual Meeting in Austin spurred us to take action,” said John Dichtl, AASLH President & CEO. “We are so grateful for the generosity of the history community and are honored to be able to provide an avenue to help institutions that were affected.” Donors contributed $14,000 in just over a month for this fund. Hurricane Cultural Relief Fund mini-grants will be used to repair structures, preserve collections, and help organizations prepare to re-open so they can continue to serve the public with their missions of education and cultural engagement. The grantees from our region are: • • • • • • • • • • • • • • •

A. E. Backus Museum and Gallery (Fort Pierce, FL) Ah Tah Thi Ki Museum (Clewiston, FL) American Space Museum (Titusville, FL) Andalusia: The Home of Flannery O’Connor (Milledgeville, FL) Coastal Heritage Society (Savannah, GA) DeEtte Holden Cummer Museum Foundation, Inc. (Jacksonville, FL) Georgia Museum of Agriculture & Historic Village (Tifton, GA) Harry P. Leu Gardens (Orlando, FL) Historical Society of Martin County (Stuart, FL) IMAG History and Science Center (Fort Myers, FL) Mary S. Harrell Black Heritage Museum (New Smyrna Beach, FL) Mel Fisher Maritime Museum (Key West, FL) Museum of the Coastal Bend (Victoria, FL) Naples Botanical Garden (Naples, FL) Sample-McDougald House (Pompano Beach, FL)

Hurricane Irma damage, Orange County Regional History Center. Photo taken after two hours of water removal and cleanup.

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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 sperry@semcdirect.net. David Butler Sharon Campbell Priscilla Hancock Cooper Dawn Deano Hammatt Julie Harris Brian Hicks Micheal A. Hudson Kathleen F.G. Hutton Dr. Linda Orr King Elise V. LeCompte Deborah Lynn Mack Darcie MacMahon Rebecca Nagy Catherine McCrory Pears Robin Seage Person Robin Edward Reed Deitrah J. Taylor Michael Scott Warren Heather Marie Wells

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 55

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 2018 marks JIMI’s 18th anniversary, and SEMC has brought the fund’s total to $24,726.35 as of September 30, 2017. Kyle Bryner Brian Hicks Elise V. LeCompte Catherine McCrory Pears

OTHER SEMC CONTRIBUTIONS These funds contribute to the annual meeting or to the general operating funds for SEMC: Patrick Daily (General Operating) Martha Battle Jackson (JIMI) Rachel Williamson (Annual Meeting)

New or Renewal Memberships Received SEMC thanks those who have renewed or joined our organization for the first time between April 1 and September 30, 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 sperry@semcdirect.net or 404.814.2048. For your convenience, the last page of this newsletter is a membership application.

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INSTITUTIONAL MEMBERS (Category 1: $50 ) Museum of the Shenandoah Valley, Winchester, Virginia Mandarin Museum & Historical Society, Jacksonville, Florida The Oaks House Museum, Jackson, Mississippi Friends of Cassidy Park Museums, Bogalusa, Louisiana Cross County Museum & Archives, Wynne, Arkansas MOCA Jacksonville, Jacksonville, Florida Bradbury Art Museum, Arkansas State University, State University, Arkansas Waterworks Visual Arts Center, Salisbury, North Carolina Dunedin Fine Art Center, Dunedin, Florida Historic Carson House, Marion, North Carolina Frazier History Museum, Louisville, Kentucky Reuel B. Pritchett Museum, Bridgewater, Virginia

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SEMC ENDOWMENT Consider a contribution to the SEMC William T. and Sylvia F. Alderson Endowment Fund. 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. The Endowment Gift Campaign goal is $450,000. 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.

acquisitions

View of recent acquisitions on view at The Bass. Photography by Zachary Balber. Courtesy of The Bass, Miami Beach.

FLORIDA The Bass, Miami Beach’s contemporary art museum, announced the acquisition of Perified Petrol Pump (Pemex II) (2011), by Puerto Rico-based duo Jennifer Allora and Guillermo Calzadilla. The sculpture is the third work acquired through the museum’s contemporary art acquisition initiative, a ten-year plan launched in 2016, to add international contemporary art to the museum’s permanent collection. Spearheaded by Executive Director and Chief Curator Silvia Karman Cubiñá and Board President George Lindemann, this program aims to forge a strong connection between the collection and the museum’s changing exhibition program, which features established and mid-career

international contemporary artists. The Allora & Calzadilla work will be presented in The Bass’ newly renovated space — alongside additional works from the collection and recent gifts — when the museum reopened to the public this October. ¶ Petrified Petrol Pump (Pemex II)’s black lava and travertine stone form a gasoline pump that appears to have been taken over by a volcanic, pyroclastic flow. The work alludes to the organic plentitude of the earth’s natural foundations and the ancient life forms that continue to provide the material used to generate energy today. Reflecting both a distant past and our current moment, this “technofossil” collapses the intervals between past and present, technological progress and obsolescence, and manmade materials and natural phenomena. The work 68

ponders what legacy human culture will contribute to the history of the planet. The piece exemplifies the exploration of geopolitics, cultural artifacts and archaeological history that Allora & Calzadilla conduct in their expansive and experimental body of work, which incorporates sculpture, live performance, video, sound and photography. It offers a view into the ways the pair use their artistic research to probe the structural and narrative conventions of storytelling, and to investigate the potential of language and materiality. Âś Petrified Petrol Pump (Pemex II) was purchased through The Bass Acquisition Initiative, made possible by the John and Johanna Bass Acquisition Fund. Recent additions to the collection made through this initiative, include Miami Mountain (2016), by Ugo Rondinone, and Eternity Now (2015), by Sylvie Fleury.

Jennifer Allora & Guillera Calzadilla (JA 1975, GC 1971), Petrified Petrol Pump (Pemex II), 2011. Black lava and travertine stone. 254 x 203.2 x 203.2 cm (100 x 80 x 80 inches) A&C2452.

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View of The Bass and Ugo Rondione’s Miami Mountain (2016) from Collins Park. Photography by Zachary Balber. Courtesy of The Bass, Miami Beach.

FLORIDA The Bass Museum, Miami Beach’s contemporary art museum, reopened its newly transformed space to the public on October 29, 2017, with solo exhibitions by Ugo Rondinone and Pascale Marthine Tayou. A selftitled solo exhibition by Mika Rottenberg will open in December, aligning with Art Basel Miami Beach. In October, a large gallery was dedicated to a display of recent contemporary acquisitions and gifts to The

Bass’s permanent collection. These exhibitions debut following a major renovation of the museum, which has increased programmable space by nearly 50 percent within the existing footprint, creating a new internal structure with four additional galleries, a museum shop, café and designated education facility. “Our vision for The Bass has always expanded beyond our walls to the city of Miami Beach. We are delighted that our transformed space will allow us to offer an enhanced experience to the visitors and residents who have long 72

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supported us throughout the years, as well as national and international first-time guests,” says Executive Director and Chief Curator Silvia Karman Cubiñá. “The three exhibitions we chose to inaugurate the new space this fall reflect The Bass’ commitment to presenting international contemporary art by established and midcareer artists. We are proud to present Ugo Rondinone’s solo exhibition good evening beautiful blue and newly commissioned work by Pascale Marthine Tayou, as well as to debut several pivotal works by Mika Rottenberg in the United States.” The Lightner Museum is the recipient of a $25,000 grant awarded by the Institute of Museum and Library Services (IMLS) to improve its fourth floor collection space. IMLS is the primary source of federal support for the nation’s 123,000 libraries and 35,000 museums. Lightner Museum is one of 132 projects chosen to receive funding. Only 24 percent of this funding cycle’s 558 applicants were selected. ¶ The grant will allow Lightner Museum to hire a museum collections consultant to improve the efficiency and functionality of its collections workspace for staff. Under the guidance of the consultant, the museum will purchase furnishings for new workspaces, which will be used to enter 500 new objects into the permanent collection. This is the first phase in a multi-phase project to transform the current space into a state-of-the-art storage facility

A giant head made of shells is housed in one of the rooms on the fourth floor storage space in the Lightner Museum.

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for fine and decorative art. ¶ “The long-term goal is to secure and organize collection storage in a way that the public can have greater access to the museum’s holdings. ‘Open storage’ concepts have proven to be very successful at institutions like the Met where visitors can actually walk into collections storage and see objects that would otherwise be kept behind closed doors,” said Robert Harper, Lightner Museum Executive Director. ¶ The museum’s fourth floor was originally used as living quarters for the staff of Henry Flagler’s Alcazar Hotel, which opened in 1888 and closed in 1931. This area is included in new “Upstairs/Downstairs at the Alcazar” tours, which discusses the in-depth history of the building. The fourth floor also serves as the home to 100 percent of Otto Lightner’s collection when it is not on exhibit.

GEORGIA The Tubman Museum has been selected as a winner of the 2017 Knight Cities Challenge for its “Back Lot Drive-In at the Tubman” proposal. The official announcement of the winning projects was made today at the Knight Cities Challenge Winners Summit’s awards ceremony in Miami. ¶ The “Back Lot Drive-In at the Tubman” project is a new Tubman Museum initiative

that, on selected evenings during the year, will transform the downtown parking lot behind the Museum into a drive-in movie theater. The elevated terrace on the rear side of the Museum will serve as the platform for a 30-foot modular LED screen. Outdoor speakers placed on and below the terrace will amplify the film soundtrack to people gathered in lawn chairs or parked in cars near the building. And cars parked further back in the lot will be able to enjoy the soundtrack via their radios. The rear terrace of the Museum and the new sound system funded through this Knight Cities Challenge grant will also be utilized to present free outdoor concerts, and the drive-in films and musical performances presented in this new downtown amphitheater setting will be strategically scheduled to support popular community events and the museum’s rotating exhibitions and overarching mission to educate its visitors about African American art, history and culture. ¶ Through this new drive-in movie and outdoor concert experience, the Tubman Museum hopes to create a vibrant community space in an otherwise utilitarian lot. The project will also establish a strong link between the Museum and nascent development that is taking place in the rear of the Tubman Museum’s block – including a new downtown condominium complex, the restored Capricorn Studios, Ampersands Arts, and the new offices of Historic Macon, an organization

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dedicated to community revitalization through historic preservation. The free movies and concerts presented in this new downtown setting will create an opportunity for communal gathering across racial and cultural lines and provide free and easily accessible entertainment to a diverse audience of downtown residents and others who travel to the site by car or by public transit. ¶ “A drive-in theater is not a new concept, but this project’s location in a downtown urban setting provides us with a chance to introduce another generation to a once-thriving cultural staple that was central to life and entertainment in Middle Georgia and throughout the South,” stated Andy Ambrose, Executive Director of the Tubman Museum. “It will offer a unique experience for citizens of all ages and backgrounds, and we expect it to attract visitors throughout Georgia.”

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exhibitions

ARKANSAS Crystal Bridges Museum of American Art presents the exhibition, Stuart Davis: In Full Swing, on view September 16, 2017, through January 1, 2018. Stuart Davis: In Full Swing is the first major exhibition in 20 years dedicated to Stuart Davis (1892-1964), a key figure in the development in American modern art. The exhibition showcases 86 works that reveal the dynamic original style of this important American painter. The exhibition was co-organized by the National Gallery of Art, Washington, D.C., and the Whitney Museum of American Art, New York. Crystal Bridges is the final venue for this exhibition. Beginning with a 1912 selfportrait, Stuart Davis: In Full Swing charts the artist’s development over five decades of art making. The exhibition opens with an introductory section featuring an overview of Davis’s career, then documents the evolution of his art by decade, culminating in his final,

The Mellow Pad, 1945–51. Oil on canvas, 26 ¼ x 42 1/8 in. Brooklyn Museum; bequest of Edith and Milton Lowenthal. From the Crystal Bridges Museum of American Art’s exhibition Stuart Davis: In Full Swing.

unfinished canvas, titled Fin (1962-64). Throughout the exhibition, the impact of Davis’s great passion for jazz is evident. A lifelong enthusiast, Davis stated that jazz was the “great American art expression,” with “the same quality of art that [he] found in the best modern painting.” This is especially evident in his paintings after 1940 when he frequently reworked earlier compositions in a way similar to jazz’s concept of variations on a theme, and similarly conveys a uniquely modern sense of dynamism and vibrancy. The structure, rhythm, riffs and repetitions in Davis’s painting derive from his tremendous love of American jazz, especially piano music. The exhibition highlights the jazz rhythms in Davis’s works with the soft sounds of jazz music played in the galleries throughout the run of the exhibition. 82

Ugo Rondinone, vocabulary of solitude, 2014. Milled foam and epoxy resin, fabric. Image courtesy of the artist. From The Bass Museum’s exhibition evening beautiful blue.

FLORIDA Spanning the entirety of the The Bass Museum’s newly designed second floor is Ugo Rondinone’s good evening beautiful blue, on view through February 19, 2018. The exhibition is a part of a major multi-institution retrospective comprising works that span three decades of Rondinone’s practice, from the late 1990s to the present. From poetic installations in public spaces to life-size drawings, Rondine’s work balances the edge of euphoria and depression. The exhibition centers on the work vocabulary of solitude (2014), an installation of 45 life-size clown figures, each engaged in a different everyday activity, such as sleeping, daydreaming, waking up, sitting and running. Making its first appearance in the U.S. in nearly two decades, a separate gallery presents an immersive six-channel video installation titled It’s late… (1999-2000), displaying

slow-motion loops of people doing various isolated mundane tasks. On view in the third space, clockwork for oracles II (2008) is a multi-wall installation comprised of 52-mirrored windows (one for each week in the year) set against a backdrop of whitewashed pages from a local newspaper. Born in Cameroon and based in Ghent, Belgium, Pascale Marthine Tayou will bring his itinerant practice to The Bass Museum for his exhibition, Beautiful, creating an organic and collaboratively formed presentation of work made in the last decade. Visitors will navigate between stacked Arabic pots, Colonnes Pascale (2012), and encounter Tayou’s colorful Fresque de Craies (2015), constructed of hundreds of chalk pieces arranged beneath West African colon tourist figures, gold foil, and plastic eggs. Tayou, whose practice spans media and subject matter, is an alchemist of sorts. His work fluidly 83

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Installation view of Pascale Marthine Tayou’s exhibition Beautiful, at The Bass, Miami Beach. Photography by Zachary Balber.

transforms and recasts the viewer’s understanding of materials, objects, and narratives. Beautiful is on view through April 2, 2018. Mika Rottenberg’s self-titled solo exhibition at The Bass Museum from December 7, 2017, through April 30, 2018, presents a selection of work created within the past two years. The exhibition occupies all galleries comprising the historic building of the museum and features the U.S. debut of several works, including NoNoseKnows (Artist Variant) (2015), a video and sculptural installation that combines fact and fiction, documenting a group of Chinese laborers who harvest pearls from oysters in ZhuJi, China, empty high rises near Shanghai and a set built in the artist’s studio in New York. The work first debuted at the 56th Venice Biennial (2015). In a parallel gallery, a new variant of the artist’s recent commission for Skulptur Projekte Münster (opened June 2017) titled Cosmic Generator,

will punctuate the space. Rottenberg’s work focuses on elucidating the mechanics of late-stage, global capitalism by way of absurd and poetic comparisons.

At The Bass, Miami Beach. Mika Rottenberg, NoNoseKnows, 2015. Video and sculptural installation. Duration: approx. 22 minutes, 6 variants with 1AP. © Mika Rottenberg. Image courtesy Andrea Rosen Gallery, New York.

From the Lightner Museum’s Dressing Downton: Changing Fashions for Changing Times.

The Lightner Museum unveiled Dressing Downton™: Changing Fashions for Changing Times, a national exhibition based on the highly acclaimed PBS series Downton Abbey. Dressing Downton™ is a 13-week exhibition featuring 36 authentic Victorian Era costumes and accessories used in the production of the television series. The exhibition is produced by Exhibits Development Group in collaboration with NBC Universal International Television Production and Carnival Films/PBS Masterpiece’s Downton Abbey®. The exhibition will be open to the public in the Lightner Museum’s Grand Ballroom Gallery and immersed within Otto Lightner’s Gilded Age fine and decorative art collection in engaging vignettes. Dressing Downton will be on view through January 7, 2018.

In this image from the Atlanta History Center exhibition More Than Self: Living the Vietnam War, Army artillerymen operate a 105mm Howitzer while guarding a fire base in Vietnam. A fire base (FB) is a temporary base designed to provide artillery support to infantry units operating out of the artillery range of their own base camps.

GEORGIA The Atlanta History Center will present the exhibition More Than Self: Living the Vietnam War from November 11, 2017 through March 18, 2018. More Than Self selects narratives from more than 650 oral histories preserved in the Atlanta History Center’s Kenan Research Center Veterans History Project to explore the Vietnam War. These accounts are illustrated by compelling photographs, documents, and artifacts, such as an AR-15 rifle and a Montagnard crossbow (created by the indigenous people of the Vietnamese highlands) that underscore the differences in weaponry and military tactics used in Vietnam. The Vietnam War was a polarizing, painful episode in U.S. history that dramatically influenced our current perspectives on patriotism, democracy, morality, and military and governmental authority. As More Than Self: Living the Vietnam War makes clear, no one who served came home unchanged. The exhibition is generously funded by the Atlanta Vietnam Veterans Business Association, Regions Bank, an Anonymous Donor, and Society of Colonial Wars in the State of Georgia. Digitization and cataloguing of the Atlanta History Center Veterans History Project is made possible by grants from the Scott Hudgens Family Foundation, the Arthur M. Blank Family Foundation, and the Atlanta Chapter, National Society Daughters of the American Revolution.

James H. Holcombe Jr., an Army 1st Lieutenant, “C” Company, 2/5 Regiment, 1st Cavalry Division, is shown in Vietnam next to a hand-lettered sign for “The Rabble,” which was his unit’s radio call sign. Holcombe, who served in Vietnam from 1969–1970, contributed photos that will be included in the exhibition More Than Self: Living the Vietnam War, opening November 11 at the Atlanta History Center.

The Georgia Museum of Art at the University of Georgia will present the exhibition Muse: Mickalene Thomas Photographs and tête-à-tête from October 14, 2017 through January 7, 2018. Mickalene Thomas, known for her large-scale, multi-textured, and rhinestone-encrusted paintings of domestic interiors and portraits, has also identified the photographic image as a defining touchstone for her practice. Thomas first began to photograph herself and her mother as a student at Yale—a pivotal experience for her as an artist. While working across multiple series, much of her photographic work functions as a personal act of deconstruction and reappropriation— both of images she has created herself and images she has singled out as influence. With each series, she grapples with and asserts new definitions of beauty and inspiration. Thomas’s portraits draw equally from 1970s black-is-beautiful images of women such as supermodel Beverly Johnson

and actress Vonetta McGee; Édouard Manet’s odalisque figures; and the mise-en-scène studio portraiture of James Van Der Zee and Malick Sidibé, to mention a few. Perhaps of greatest importance, however, this collection of portraits and staged scenes reflects a very personal community of inspiration as well—a collection of muses that includes herself, her mother, and her friends and lovers, emphasizing the communal and social aspects of art-making and creativity that pervade her work. The accompanying Aperture publication is the first to gather together her various approaches to photography, including portraits, collages, Polaroids, and other processes. 88

Charles Moore (American, 1931-2010), Martin Luther King Jr. Arrested, Montgomery, Alabama, 1958, gelatin silver print. High Museum of Art, Atlanta, purchase with funds from Lucinda W. Bunnen for the Bunnen Collection, 1994.63.

Taking it’s title from Dr. Martin Luther King Jr.’s final speech before his assassination in 1968, the High Museum of Art’s photography exhibition ‘A Fire That No Water Could Put Out’: Civil Rights Photography (November 4, 2017-May 27, 2018) will reflect on the 50th anniversary of that tumultuous year in American history. The more than 40 prints to be featured are drawn in large part from the Museum’s collection of photography documenting the civil rights movement, which is among the most significant in the world. Iconic historical images will be presented alongside works by contemporary photographers that illuminate the legacy of the movement. The exhibition will be arranged into three sections that explore the era of Dr. King’s leadership, the year of his death and contemporary reflections on the civil rights movement’s enduring legacy. Artists featured include renowned 20th-century photographers Gordon Parks, Danny Lyon, Charles Moore,

Roy DeCarava, James Hinton, Steve Schapiro, Diane Arbus, Ernest Withers, Doris Derby and Burk Uzzle as well as notable contemporary photographers David Alekhuogie, Dawoud Bey, Jason Lazarus and Sheila Pree Bright. The High Museum of Art is organizing the first museum survey in the United States to explore the career of American artist Al Taylor (1948–1999). Al Taylor: What Are You Looking At? (November 17, 2017 through March 18, 2018) will feature more than 150 sculptures, drawings, and prints spanning nearly two decades, from 1981 to the end of the artist’s life. The works are drawn from distinguished public collections such as the National Gallery of Art in Washington, D.C., The Museum of Modern Art, New York, and The British Museum, London, as well as important private collections in the United States. Like many artists of his 89

generation, Taylor often used commonplace objects, such as broomsticks, coffee cans and hula hoops, to construct his three-dimensional works. He delighted in the deadpan materiality that gave his works form, graphically reproducing such ordinary subjects as kinks of twisted wire or the optical effects of transparent plastic. His art transcends straightforward observation to reveal the world in entirely new ways. The exhibition will feature works from Taylor’s series “Wheel Studies” (1981–85), “Latin Studies” (1984–85), “Pet Stains and Puddles” (1989–92), “Pass the Peas” (1991), “X-Ray Tube” (1995), “Full Gospel Neckless” (1997) and “Bondage Duck” (1998–99), among others. Michael Rooks, the High’s Wieland Family curator of modern and contemporary art, explained that “Taylor drew no hierarchical distinctions among the different media he used. They each facilitated a variety of methods for researching his hypotheses about visual perception, which posed the fundamental question ‘What are you looking at?’”

left: Al Taylor (American, 1948–1999), Bondage Duck Study, 1998, pencil, ink, acrylic mica mortar, graphite, colored pencil, China marker grease pencil, and wax crayon on paper. Collection Debbie Taylor, New York. right: Al Taylor (American, 1948– 1999), Pet Stain Removal Device, 1989, bamboo garden stakes, Plexiglas, paint, wire, and electrical tape. The Estate of Al Taylor, Courtesy David Zwirner, New York/London.

The High Museum of Art is also presenting Amy Elkins: Black is the Day, Black is the Night (September 7, 2017 – March 4, 2018), an exhibition featuring second works from a multi-layered photographic project by 90

left: Amy Elkins (American, born 1979), 13/32 (Not the Man I Once Was), 2009-2016, pigmented inkjet print. Courtesy of the artist and Yancey Richardson Gallery, New York. right: Amy Elkins (American, born 1979), 14/38 (Not the Man I Once Was), 2009-2016, pigmented inkjet print. Courtesy of the artist and Yancey Richardson Gallery, New York.

the Southern California-based artist (American, born 1979) that explores the effects of long-term solitary confinement. The works include six distorted portraits of U.S. prison inmates serving on death row or serving life sentences, along with a constructed landscape. Of the 2.2 million people incarcerated in the United States, as many as 100,000 of them are kept in isolation, often for years on end. Because her subjects were physically inaccessible and hidden from view (prisons generally do not allow photography inside), Elkins drew on correspondence with several men to develop her photography project. She blended fact and fantasy to create extensively processed portraits and landscapes that evoke her subjectsâ€™ unstable senses of identity, fading memories and the banal realities of everyday life in prison. The selection on view in the exhibition is drawn from a larger body of work that culminated in a book published in 2016. The inmatesâ€™ letters, written over the course of many years, are displayed in a case at the center of the gallery. The High Museum of Art is the first venue in the United States to present Making Africa: A Continent of

Contemporary Design, a major touring exhibition organized by the Vitra Design Museum and Guggenheim Museum Bilbao. On view through January 7, 2018, Making Africa offers a vision of Africa in the 21st century as a place of unbounded optimism, rapid growth and massive cultural transformation. Through a myriad of diverse works by more than 120 artists and designers from 22 countries, the exhibition presents a continent as a hub of experimentation generating innovative design approaches and solutions with worldwide relevance and as a driving force for reframing discussions on design possibilities and applications in the new millennium. Making Africa focuses on a generation of entrepreneurs, thinkers and designers from and within Africa who address a global audience and provide the world with a new vantage point on the continent. The exhibition also illustrates how the artists use their work to effect economic, social and political change within their countries and local communities. Also on view at the High Museum of Art is Painter and Poet: The Wonderful World of Ashley Bryan, from April 1, 2017 through January 21, 2018. Bryan (American, born 91

Duro Olowu (Nigerian, born 1965), Look 12, from Birds of Paradise Autumn/Winter 2013/2014 collection, 2013–2014, cape: embroidered silk; pants: silk and viscose; top: viscose, georgette, and silk. © Photo by Luis Monteiro. Image courtesy of Duro Olowu. From the High’s exhibition Making Africa: A Continent of Contemporary Design.

1923) has published children’s books in a dizzying array of styles that reflect a wide variety of influences, from African folktales to jazz and poetry. The High is the sole venue for the exhibition, which introduces viewers to Bryan’s prolific production through more than 70 original artworks from 20 of his books. In addition to surveying Bryan’s adaptations of poetry, folklore and spirituals, the exhibition explores the artist’s fascinating biography and the important role that family heritage plays in his work. The exhibition also features eight of Bryan’s puppets — which are inspired by African art and composed of objects scavenged from the small Maine island where he lives and works — as well as a biographical video produced by the High with footage of Bryan at his island home and studio, providing audiences with an intimate look at the artist’s life. “Bryan’s deeply moving works captivate audiences of all ages and demonstrate his ability to translate compelling and timeless stories through an impressive range of artistic media,” said Ginia Sweeney, the High’s co-managing curator of the exhibition. “We are delighted to highlight

Ashley Bryan (American, born 1923), The Adventures of Aku, 1976, title page from The Adventures of Aku (Atheneum, 1976), tempera and gouache on board. The Eric Carle Museum of Picture Book Art, Amherst, Massachusetts, gift of the artist, 2011.11.014. From the High’s exhibition Painter and Poet: The Wonderful World of Ashley Bryan.

his important contributions to children’s literature and his personal story through this exhibition.” As the October leaves are turning red, The Brown Stitchers Quilt Guild from Atlanta, Georgia has brought twenty exquisitely stitched quilts for a spectacular 92

Ashley Bryan in his studio, 2016. Photo courtesy of High Museum of Art.

Annual Quilting Exhibition at the Lucy Craft Laney Museum of Black History. On view from October 6 to December 30, 2017, this exhibition explores the artistry and history of quilting. A diverse group of AfricanAmerican quilters from all over the metropolitan area of Atlanta, the crafters of this guild have gained popularity both regionally and nationally, with this year marking the fifth season the Brown Sugar Stitchers have exhibited their work at the museum based on rave reviews.

Two quilts on view at the Lucy Craft Laney Museum of Black History, in Augusta, Georgia.

The Savannah College of Art and Design (SCAD) will present the first U.S. solo museum exhibition of designs by eminent Chinese couturière Guo Pei, September 7, 2017 to March 4, 2018 at SCAD FASH Museum of Fashion + Film. This landmark exhibition will feature more than 30 of Guo Pei’s most exquisite gowns, accordant footwear and accessories, including

the now-iconic imperial yellow cape worn by Rihanna to the Metropolitan Museum of Art’s Costume Institute Gala in 2015—a seminal moment that introduced Guo Pei to America’s fashion cognoscenti. A concise, complementary exhibition of Guo Pei’s work opened in October 2017, at Pei Ling Chan Gallery, Savannah, Georgia. Guo Pei is China’s most renowned 94

couturiĂ¨re and the first Chinese national designer invited to join the prestigious Chambre Syndicale de la Haute Couture. For more than 20 years, she has dressed distinguished ladies, royalty, political elite and international influencers. Her show-stopping, magnificent creations make her a modern messenger of her cultural heritage. 95

Darryl Atwell sitting in front of Good Vibrations, 2013, Rashid Johnson, Courtesy of Darryl Atwell. Photo credit: Kevin Broome. On view at the Harvey B. Gantt Center.

of the nation’s most important and comprehensive collections of African-American art. Guests are also invited to ponder immortality through the work of Miya Bailey, on view in Immortal: A New Series by Miya Bailey, which explores how artists immortalize people, places, and memories through the visual arts and invites the viewer to relinquish control. Guests can also experience the conflicting emotions of the conscious and subconscious minds with Sloane Siobhan: Archetypes of the Subconscious, an exhibition of painted works by Charlotte artist Sloane Siobhan that explores the notions of growth, loss and the inner battle of the mind, the spirit, and the heart. All exhibitions are on view through January 22, 2018.

NORTH CAROLINA The Harvey B. Gantt Center for African-American Arts + Culture launched its new collection of exhibitions to the public on July 22, 2017 for its new season themed Moments. Memories. Masterpieces, which showcases collectors who are preserving AfricanAmerican art for future generations, and consists of exhibits of contemporary collections, figurative and abstract paintings, and mixed-media sculptures. Guests are invited to explore the extensive private collection of Darryl Atwell of Washington, D.C. in Simple Passion, Complex Vision: The Darryl Atwell Collection of AfricanAmerican Art, one of the most expansive collections of abstract and contemporary African-American art, curated by Emory University Professor, artist, and art historian Dr. Michael D. Harris. Also on view is the collection of Vivian D. Hewitt of Charlotte, North Carolina, in the exhibition Instill & Inspire: Selections from the John and Vivian Hewitt Collection of AfricanAmerican Art, which includes selections from one

VIRGINIA The Mariners’ Museum and Park opened two photography exhibitions, both focused on maritime photography, this past October. Another Look: Marine Photography from 1948–197 presents a multitude of 96

photographs collected from 1948 through 1972 exploring man’s connection to the sea. This retrospective photography exhibition will feature the amateur and professional work of photographers from around the world. Another Look will run through April 1, 2018. Also on view at The Mariners’ Museum and Park is Views of the Baltic Sea: Contemporary Photographs from Greifswald, Germany, which recognizes the 10th anniversary of the relationship between Greifswald and Sister City Newport News. Sister City relationships offer the flexibility to form connections between communities that are mutually beneficial and address issues that are most relevant for each city. Views of the Baltic Sea will feature the work of eight photographers who live and work in the Greifswald area. There will be 30 photographs, which were all recently taken in the last four to five years. The photographs are contemporary, color digital prints and represent maritime life in Greifswald. Views of the Baltic Sea will run through January 7, 2018.

Comes the Dawn, Yat-Fung Lai, Hong Kong, China. Gelatin silver print. Honorable Mention, 1953 Salon. The Mariners’ Museum Collection.

opposite: Pop-eye, Whitney Sevin, Newport News, Virginia. Gelatin silver Print. 1966 Salon. The Mariners’ Museum Collection.

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people and places

Della Watkins.

The board of trustees of the Columbia Museum of Art (CMA) announces the appointment of Della Watkins as the new executive director. Watkins currently serves as the executive director of the Taubman Museum of Art in Roanoke, Virginia. ¶ “We heard it consistently from her current board and Mr. Taubman himself, one of Della’s greatest strengths is her engagement in the community,” says CMA Search Committee Chair Earl Ellis. “That was a very important factor in our consideration set. The Columbia Museum of Art is a community asset, and we were seeking a proven leader who had demonstrated strengths in community engagement.” ¶ After 14 years of working as an art educator, Watkins began her career in museum education at the Virginia Museum of Fine Arts, where she held successively more senior roles during her 16-year tenure. Watkins joined the Taubman Museum of Art in 2013. Under her leadership, the museum completed buildout of the last remaining gallery space that now hosts major national traveling exhibitions, reclaimed financial

stability through steady fundraising, and forged new collegial partnerships in Roanoke and beyond to champion the region’s arts and culture community. ¶ “After a thorough search process, selecting Della was a clear choice to lead this dynamic organization,” says CMA Board President R. Scott McClelland. “Her experience and passion allowed the search committee to check every box for leadership attributes essential to achieving the next step in the museum’s vision.” Watkins officially took the helm as executive director on October 1, 2017. ¶ “With the completion of the renovation next year, the Columbia Museum of Art is poised to take an even greater leadership role as a vibrant local and statewide arts and education powerhouse,” says Watkins. “I look forward to working tirelessly to get to know the community, grow membership, friends, donors, business supporters, colleagues, and partners. Together, we’ll ensure that the CMA is a proud and lively cultural arts destination for everyone in South Carolina and beyond.” 98

what’s happening Send information for What’s Happening to Susan Perry at sperry@semcdirect.net.

Collections Assessment for Preservation (CAP) Program Applications opened November 1. The CAP program provides small museums with support for a general conservation assessment, which is a study of all the institution’s collections, buildings, and building systems, as well as its policies and procedures relating to collections care. Participants who complete the program receive an assessment report with prioritized recommendations to improve collections care. Learn more at www. conservation-us.org/cap.

NATIONAL MEETINGS Museums Advocacy Day 2018 is February 26-27, 2018. The American Association of State and Local History presents its 2018 annual meeting in Kansas City, MO, September 26–29, 2018. The 2018 Annual Meeting theme is “Truth or Consequences.” For more information, visit www.aaslh.org. The American Alliance of Museums (AAM) will hold its 2018 Annual Meeting & Museum Expo May 6–9, 2018, in Phoenix, Arizona. This year’s theme is “Educate, Engage, Elevate! Museums on the Rise.” For more information, visit www.aam-us.org. Association of Academic Museums and Galleries (AAMG) will hold its next annual conference June 21–25, 2018, at the Lowe Art Museum (University of Miami). This year’s theme is “Audacious Ideas: University Museums and Collections as Change-Agents for a Better World.” For more information visit www.aamg-us.org.

STATE MEETINGS Alabama Museums Association Date: TBA Location: TBA Florida Association of Museums Date: TBA Location: TBA Georgia Association of Museums and Galleries January 17–19, 2018, Rome, GA Louisiana Association of Museums Date: TBA Location: TBA Mississippi Museums Association Date: TBA Location: TBA North Carolina Museums Council March 18–19, 2018, Greensboro, NC South Carolina Federation of Museums Date: March 21-23, 2018 Location: Oconee County, SC Tennessee Association of Museums March 21–23, 2018 Pickwick Landing State Park, Shiloh, TN Virginia Association of Museums March 10–13, 2018, Norfolk, VA West Virginia Association of Museums March 22–24, 2018, Charleston, WV

IMPORTANT DATES! Annual Meeting Registration: online at www.SEMCdirect.net Annual Meeting Hotel: Jackson Marriott; Room rate $145 plus tax IMPORTANT DATES! June 15: SEMC Exhibition Competition deadline June 15: SEMC Publication Competition deadline June 15: SEMC Technology Competition deadline June 15: SEMC Scholarship Applications deadline June 15: Resource Expo Early Registration deadline July 13: Annual Meeting Early Registration deadline July 13: SEMC Awards Nomination deadline Sept. 14: Hotel Room Block deadline October 8–9: Annual Meeting 2018 Jackson

for more information visit www.SEMCdirect.net, email memberservices@SEMCdirect.net, or call 404.814.2048.

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