Voice
200 S. Third St. | Richmond, Virginia 23219 | 804.788.5820 | www.vamuseums.org | Summer 2011
Eyes on Art session for people with
Alzheimer’s and their caregivers at the
University of Virginia Art Museum.
Meeting Special Needs in Our Communities
Through Programming
i Making the Most of the Picturing America:
Virginia Style Outreach Kit for Senior Audiences
Member Profile: The Mariners’ Museum & Distance Learning
Meeting Special Needs in Our C
compiled by Heather Widener, with an interview with Sharon Celsor-Hughes
Sharon Celsor-Hughes, docent coordinator for UVaM, is responsible for training student and community docents in the art of giving inquiry
based tours. Celsor-Hughes oversees Eyes on Art, a program developed to encourage quality of life experiences for people in early to mid-stages
of Alzheimer’s disease, and their caretakers. Celsor-Hughes holds an M.A. in Folk Studies and finds that the historical knowledge gained from
recording oral histories helps her relate to many of the Eyes on Art participants. In addition, Celsor-Hughes supervises a pilot program that
brings students from the Virginia Institute of Autism to the Museum for highly individualized tours. Celsor-Hughes completed VAM’s Museum
Management certification in December 2007.
T
Cover Story
he theme of our 2011 Annual
Conference was “Anchoring Our
Communities,” and the notion
of “place” and relevance is a recurring theme for museums throughout Virginia, D.C., and beyond. This
is especially true during times of
economic challenge, when museums
– indeed all organizations – are taking
a magnifying glass to their operations, mission, and goals to ensure
they are in line with established
best practices and future trends. The
self-examination doesn’t end there,
though, because to remain relevant,
we all must meet needs and provide
valuable services within our communities. There are myriad ways to
do this. Many museums are looking
at their audience base, and engaging audiences that are traditionally
underserved by cultural institutions.
One such type of audience is made
up of patrons with special needs.
There are so many populations with
special needs; certainly that label is
applied to a vast array of very diverse
audiences. From patrons with physical
disabilities such as those who are
blind, deaf, or wheelchair-bound to
those suffering from autism, epilepsy,
downs syndrome, or Alzheimer’s
disease, the special needs in our
communities are plenty. How does a
museum play a role – as a community
institution – and offer something of
value to these audiences and their
families and caregivers?
Certainly, in the years since the
Americans with Disabilities Act (ADA)
was first passed in 1990, we’ve made
great strides in our communities to
ensure accessibility and opportunity
for people with disabilities. These
days, however, museums are taking
action above and beyond the Federal
guidelines and meeting needs of special audiences through programming
tailored to meet those needs. Examples of forward-thinking programs
abound - whether it’s a children’s
museum partnering with a social
service agency to deliver therapeutic
programs at the museum (check
out the award-winning program at
Port Discovery in Baltimore at www.
portdiscovery.org/educators/specialneeds), or a small county museum
partnering with a nursing home to
hold outreach programs (see sidebar
on the Isle of Wight County Museum’s
experiences using the VAM Picturing
America: Virginia Style outreach kit for
senior audiences, page 3). In Virginia
and beyond, museums are going
above and beyond traditional programming to serve those who, many
times, are left behind.
One innovative program designed
for people with Alzheimer’s is called
“Eyes on Art.” The program was piloted
in September 2010 at the University
of Virginia Art Museum (UVaM), in
collaboration with the Alzheimer’s
Association, Central and Western
Virginia Chapter. After hearing about
their program, similar in mission to
those at much larger institutions such
as MoMA and the VMFA, I contacted
UVaM and began corresponding with
Sharon Celsor-Hughes, docent coordinator, to find out more. Sharon offered
a history of their program, challenges
the museum faced along the way, and
advice for those looking for creative
partnerships and programming such
as this. Any museum considering
a special program that entails staff
training, organizational partnerships
and a creative re-thinking of the
museum experience will be able to
glean some helpful advice from the
interview below:
VAM: Why did you decide to initiate a
program for Alzheimer’s patients?
SC-H: The idea for starting our
program came from UVaM’s advisory board member, Margaret Doyle,
who is the associate director for the
department of communications at
MoMA. MoMA started a program for
people with Alzheimer’s called Meet
Me At MoMA. Through funding from
Metlife Foundation, MoMA developed support materials and a training
model for working with museums
in various regions. After developing
their own programs, MoMA-trained
museums were encouraged to assist
museums geographically nearby in
establishing similar programs. The
VMFA was one of these museums and
their program is called ArtLinks.
VAM: What type of training did
museum staff receive in preparation for working with an audience of
Alzheimer’s patients?
SC-H: In preparation for the program,
VMFA’s manager of adult and higher
education, Celeste Fetta, came for a
site visit and invited our staff to ‘shadow’ one of VMFA’s ArtLinks tours. Fetta
also shared materials VMFA developed for selecting and training their
docents for this program. In addition
to the materials from MoMA and
VMFA, I spoke with a number of other
museums that have started museum
visits for people with Alzheimer’s.
Specifically, I wanted to learn more
about programs connected with
university museums.
VAM: Obviously, a program such as
Communities Through Programming
caretaker(s).
VAM: What criteria did you use
to choose the art pieces to use
for the program? How many
pieces did you choose?
SC-H: The selection of artwork
was based on several criteria:
this is, by necessity, a partnership between
several organizations. Tell us about the
partnerships you’ve developed.
SC-H: UVaM partnered with the Central
and Western Chapter of the Alzheimer’s
Association. Ellen Phipps, the chapter’s
vice president of programs and services,
provided training for our staff and docents. Staff attending the training session
included UVaM’s director (Bruce Boucher),
security guards, and the education department. Three docents were selected and
trained in facilitating discussions with our
visitors who have Alzheimer’s disease.
Additionally, the Alzheimer’s Association
hired a part-time art project coordinator
who is the liaison between the Alzheimer’s
Association, the visiting groups, and the
Museum. The coordinator contacted local
residential homes to set up visits to the
Museum. She also arranged two “Community Groups” that were for individuals living in their own homes with their
• Size: It needed to be large
enough for those with poor
eyesight to see.
• Location: We decided to only use works
on one floor for many came in wheelchairs
or with walkers. We found it took some
time to move from one piece to the next.
The work needed to be in a location that
would accommodate chairs.
• Variety: We wanted a variety of art-to
allow for a shift in conversation and to
allow for personal preferences. Some
people prefer one type of art to another;
what might stimulate conversation for one
person may not be of interest for another.
• Engagement: We wanted the audience
to be engaged, so we chose artwork that
lent itself to in-depth conversation.
We chose three stations for viewing art,
each station having anywhere from 1-4
works.
The actual program runs for forty-five
minutes,
Continued on page 7.
Facts* about Alzheimer’s
• Of Americans aged 65 and over, 1 in 8 has Alzheimer’s, and nearly half
of people aged 85 and older have the disease.
• Alzheimer’s is the only cause of death among the top 10 in America
without a way to prevent, cure, or even slow its progression.
• More than 60 percent of Alzheimer’s and dementia caregivers rate
the emotional stress of caregiving as high or very high; one-third report
symptoms of depression.
• In 2010, 14.9 million family and friends provided 17 billion hours of
unpaid care to those with Alzheimer’s and other dementias.
*The Alzheimer’s Association 2011 Fact Sheet, accessed on May 18, 2011 at:
http://www.alz.org/documents_custom/2011_Facts_Figures_Fact_Sheet.pdf.
Summer 2011
Making a Mark in Smithfield
Picturing America: Virginia Style
Outreach Kits for Senior Audiences
Tracey Neikirk, of the Isle of Wight County
Museum, took advantage of the VAM Picturing
America: Virginia Style outreach program for
senior audiences in late 2010 – early 2011. The
Museum reached out to Magnolia Manor Assisted Living in Smithfield to bring the program
to residents in their Alzheimer’s Care Unit. (Picturing America: Virginia Style is intended for any
senior audience; the program can be adapted
for those with Alzheimer’s.) Here is what Tracey
had to say about the audience’s responses to
the art:
• A piece on quilts through history elicited the
most response, with an exciting revelation that
one of the residents had a quilt in her room that
she had made and shared the story of how it
was made. Another resident was able to remember that her mother made quilts and a great
aunt sewed. This was quite an accomplishment
for her. The lone man in our group brightened
as he shared memories about his grandmother
making quilts.
• While viewing The Sources of Country Music by
Thomas Hart Benton, the residents identified the
instruments, enjoyed the colors, and connected
with the concept of the nation moving from farming to industrialization, represented by the train.
Several were quick to react to the name of Tex
Ritter and knew a fair number of facts about him.
One resident was from the mountains of Tennessee and related some comments about the music
of Appalachia.
• I chose Autumn Landscape, by Louis Comfort
Tiffany primarily because of the lovely colors. I
was surprised at how much detail several of the
residents noticed. One lady studied the picture
and was quick to notice the fact that it looked
like a river. We discussed stained glass and named
places where they’ve seen it, such as in churches,
public buildings, homes. One lady commented
that she had a stained glass window in her house.
Finally, says Tracey, “I appreciated the opportunity to share this experience with the residents.
It is amazing and gratifying when those that
have not spoken respond. I am always looking
for things to present that help us get to know
them better.”
2011 VAM Conference:
One To Remember by Rob Orrison
Historic Site Manager, Bristoe Station
Battlefield / Ben Lomond Historic
Site, Prince William County
Program Updates
T
his year’s VAM Conference
theme was “Anchoring our Communities”, exploring
how museums of
“olde and new” can
make themselves
into community partners and
centers of community activity.
These days, when
competition is stiff for visitors, making our institutions a place of local
pride can increase their relevance
in the surrounding community. In
looking back on this year’s conference, I recall three aspects that
made it a great and rewarding time
in Portsmouth.
goers (according to our post-conference
survey, 37% were “first timers!”), we think
the wide array of sessions drew these new
attendees to the conference. Sessions
on the everyday importance of volunteer
recruitment and collections management
are always staples at VAM conferences, but
some different session ideas came to fruition this year. These included “Exhibits by
Wally World”, “Extreme Interpretation” and
“Whose Truth Is It?” There were also several
sessions on attracting younger audiences as
visitors and volunteers. Sessions challenged
all attendees to think outside the box.
Finally, the most rewarding aspect of any
VAM Conference is the connections one
makes with their colleagues during the
sessions, hospitality suite, and evening
programs. It is through these connections
that advice is given, partnerships are born,
and friendships are created. Meeting not
just colleagues from other museums, but
also the exhibitors in the exhibit hall allow
First, location, location location! Those who all of us to know that we are not alone in
have not spent much time in Portsmouth challenges we face.
got their first taste of a city with a rich his-
“...of all of the conferences I attend, including regional and
national conferences, this remains my favorite. If I have only
one conference to attend a year, VAM would be the one.”
- conference evaluation comment, 2011
tory and myriad cultural institutions. From
history and art to athletics, Portsmouth’s
museums complement the old colonial
port perfectly. VAM’s evening events took
advantage of this very walkable city, with
visits to the Virginia Sports Hall of Fame,
The Portsmouth Naval Shipyard Museum,
The LIGHTSHIP PORTSMOUTH, and The
Courthouse Galleries. Now that the newly
renovated Children’s Museum is open, we’ll
all be eager to return to see this wonderful addition to Portsmouth’s museum
landscape.
Second, the sessions. VAM’s Conference
Committee succeeded in creating new
and diverse sessions for the conference.
With the increase of “first time” conference
This bond of museum professionals
throughout the state was summed up
perfectly in the “Museum Employee Song.”
Though entertaining, anyone looking
around the room during the performance
could tell that all of us could relate to
the humorous ballad of Scott, Mike, John
and Anna. It is these relationships, built
through VAM Conferences, that enhance
our overall knowledge of museums in
Virginia and the influences and trends that
affect all of us. These relationships help
us “anchor” ourselves to each other and
can also serve as therapy! Lets hope more
of our colleagues decide to “set anchors”
next year in Newport News. See you then!
Clockwise, from top left:
Andy Talkov asks, “How many of you
can spell Sesquicentennial?” during the
Monday Morning Sesquicentennial
update. Circuit Walkers warm up! The
First Annual Circuit Walk to benefit the
Circuit Riders program raised $395.
“The Museum Employee Song” will debut
on American Idol any day now. CEOs
discuss challenges and best practices
during the CEO Summit on Sunday
afternoon.
i
Using the Picturing America:
Virginia Style Outreach Kits
with Senior Audiences
by Heather Widener
What is it?
Thanks to a
generous grant
from the Virginia
Foundation for
the Humanities,
VAM has acquired
three sets of the
National Endowment for the
Humanities’ (NEH)
Picturing America
kits, complete
with high quality, laminated
reproductions of
40 pieces of American art. The Picturing
America kit also includes a Teachers’
Resource Book, as well as American
literature (part of an American Library
Association ‘Bookshelf’) that expands
on the Picturing America themes.
How can it help small (and not-sosmall) museums?
The Picturing America: Virginia Style kit
is designed for all museums in Virginia
to bring an outreach or in-house program to senior audiences in their community. Picturing America: Virginia Style
combines the
Picturing America
materials with additional resources
to assist museums in meeting
the needs of this
broad, diverse,
and sometimes
hard-to-reach
audience. In
addition to the
Picturing America prints and
Resource Guide
from the NEH, VAM has created resources that include
17 themes and time-period
clusters that relate to the
Picturing America collection. Museums can use a
theme or era for their senior
outreach project, and easily
link in pieces from their
own collections. Virginia
museums will also receive
resources for developing
fruitful and ongoing outreach with senior audiences,
and ideas on how to best
reach and meet the needs
of senior audiences.
What does it cost?
VAM does not charge a lending fee for
museums to use the Picturing America:
Virginia Style resources. Museums pay
only the cost of shipping the kits to
the museum and back to VAM (we
encourage pick-up at the VAM office,
via regional VAM council members,
at workshops, or at the conference to
save you money). The current one-way
cost for VAM to ship you the kit is $25.
(Your museum will be responsible for
return shipping via USPS, UPS, etc.) So,
the short answer to that question is,
maybe nothing, but no more than $50
in shipping costs.
would like to use the Picturing America:
Virginia Style resources, contact Heather
Widener, VAM’s communications director at [email protected] to
schedule your museum for one of our
12-week lending periods.
3. Receive the materials (which include a complete set of the Picturing
America art reproductions and any of
the Bookshelf* titles you request) and
get started!
How can my museum take advantage
of the program?
1. Decide which theme or historical
era you would like your program to
focus on (see sidebar on page 6 for
a listing of Picturing America: Virginia
Style themes).
2. Once you have chosen a theme or
era, and have determined when you
Summer 2011
Technical Insert, cont’d...
a. Review the NEH Teacher’s Resource Book, included with the kit.
b. Review VAM’s theme-based activity suggestions, plus the following
resources, all included in your kit:
i. Inciting Oral History Narratives:
Tips for Interviewers,
ii. Characteristics of Older Learners, and
iii. Virginia Contacts for Senior
Organizations.
c. Add your museum’s works of art,
artifacts / objects, and incorporate
your own discussion points for your
unique program.
4. You may borrow the materials for
a period of 12 weeks. Once you are
finished, just send or deliver them
back to VAM, and complete our follow-up survey on the program. That
is all you need to do!
Picturing America: Virginia Style Themes
Leadership
Freedom & Equality
Democracy
Courage
The Modern Era: Post- WWII
America Torn: The Civil War
The African American Experience
The Rise of Industrialism
The World in Conflict: WWI – WWII
Native Peoples
Man & Nature
America in Revolution
Exploration & Discovery
Creativity & Ingenuity
Architecture & Engineering
Women in America
Landscapes
Picturing America Artwork
1-A Pottery and Baskets, c. 1100 to c. 1960, Various artists
1-B Mission Nuestra Señora de la Concepción, San Antonio, Texas, 1755, Various artists.
2-A John Singleton Copley, Paul Revere, 1768
2-B Silver of the 18th, 19th, and 20th Centuries
3-A Grant Wood, The Midnight Ride of Paul Revere, 1931
3-B Gilbert Stuart, George Washington (the Lansdowne portrait), 1796
4-A Emanuel Leutze,Washington Crossing the Delaware, 1851
4-B Hiram Powers, Benjamin Franklin, 1862
5-A Thomas Cole, View from Mount Holyoke,Northampton, Massachusetts, after a
Thunderstorm — The Oxbow, 1836
5-B N. C.Wyeth, Last of the Mohicans, cover illustration, 1919 N. C.Wyeth (1882–1945).
6-A John James Audubon, American Flamingo, 1838 John James Audubon (1785-1851).
6-B George Catlin, Catlin Painting the Portrait of Mah-to-toh-pa — Mandan, 1861/1869
7-A Thomas Cole and others, State Capitol, Columbus, Ohio, 1838-1861
7-B George Caleb Bingham, The County Election, 1852
8-A Albert Bierstadt, Looking Down Yosemite Valley, California, 1865
8-B Black Hawk, “Sans Arc Lakota” Ledger Book, 1880-1881
9-A Winslow Homer, The Veteran in a New Field, 1865
9-B Alexander Gardner, Abraham Lincoln, U.S. Pres., 1809-1865, 1865
10-A Augustus Saint-Gaudens, Robert Gould Shaw and the 54th Regiment Memorial,
1884-1897
10-B Quilts of the 19th and 20th Centuries, Various artists
11 – A Thomas Eakins, John Biglin in a Single Scull, c. 1873.
11-B James McNeil Whistler, Harmony in Blue and Gold: The Peacock Room, 1876 – 1877
12-A John Singer Sargent, Portrait of a Boy, 1890
12-B Childe Hassam, Allies Day, May 1917, 1917
13-A Walker Evans, Brooklyn Bridge, New York, 1929
13-B Louis Comfort Tiffany, Autumn Landscape, 1923-1924
14-A Mary Cassatt, The Boating Party, 1893/1894
14-B Joseph Stella, Brooklyn Bridge, c. 1919-1920
15-A Charles Sheeler, American Landscape, 1930
15-B William Van Alen, The Chrysler Building, 1926-1930
16-A Edward Hopper, House by the Railroad, 1925
16-B Frank Lloyd Wright, Fallingwater, 1935–1939
17-A Jacob Lawrence, The Migration of the Negro Panel no. 57, 1940–1941
17-B Romare Bearden, The Dove,1964 Bearden, Romare (1914-1988)
18-A Thomas Hart Benton, The Sources of Country Music, 1975
18-B Dorothea Lange, Migrant Mother and Children, 1936
19-A Norman Rockwell, Freedom of Speech, The Saturday Evening Post 1943, 1943
19-B James Karales, Selma-to-Montgomery March for Voting Rights in 1965, 1965
20-A Richard Diebenkorn, Cityscape I, 1963
20-B Martin Puryear, Ladder for Booker T.Washington, 1996
Programming for Special Needs
Continued from page 3.
with approximately fifteen minutes spent
at each station. Groups arrive 15 minutes
prior to the programming time. This
allows everyone time to move into the
museum while being personally greeted
and given a nametag.
VAM: Tell us a little about the “Inquiry
Method” you use to elicit discussion
around the art.
SC-H: The Inquiry Method is based on docents asking questions that are aimed to
involve the viewer in gaining visual literacy. As this method lends itself to starting
conversations and engaging the viewer,
it works well with programs designed for
people with Alzheimer’s. However, the
goal for our Eyes on Art visitors has less to
do with gaining visual literacy and more
to do with the use of art as a means for engaging and stimulating conversation. Visitors who are in the early or middle stages
of the disease are limited in their ability
to recall information, especially those everyday details such as what they ate, who
visited them, or what they just watched
on television. Frustration often occurs
when asked these types of questions—
both to the person with the disease and
their caretaker(s). However, stimulating
conversation based on what is in front of
them at that moment, and knowing there
isn’t a specific answer being sought, allows
the person with Alzheimer’s a venue for
positive interaction.
VAM: What advice would you give to other
museums that might be thinking of developing a program such as this (or perhaps
a program with a similar philosophy with
a different special needs audience)?
SC-H: The best advice I have for other
museums interested in developing a
program for any special needs group is
to reach out to other museums with like
programs. Ask to observe a program and
learn what has worked, as well as what the
challenges have been. Find out if their program has undergone changes and if so,
why. No two programs I researched were
exactly alike. Some used themes and others chose to go without themes in favor
of choosing works they felt would elicit
the most responses. Some held these
visits during regular museum hours, while
others scheduled them for non-public
hours. Most included caretakers; however
one museum sent caretakers to the coffee
shop. Many decisions will be based on the
uniqueness of the institution. Finally, start
small and see what works before expanding and involving more partnerships.
Recognize that no two groups will have
the same dynamic.
VAM: What has been most rewarding
about this program?
SC-H: We chose to work with one partner
for this pilot program, the local chapter
of the Alzheimer’s Association. Currently,
evaluation is based on anecdotal feedback from the visitors, caretakers/residential staff, and our docents. In the future,
with involvement from other university
departments, quantitative research may
become another means for evaluation.
VAM will be following this topic in our blog
and elsewhere. If your museum has or is developing programming for special needs’
audiences, please let VAM know by calling
the office at 804-788-5820, or by emailing
Heather Widener, communications director,
at [email protected].
SC-H: The most rewarding response from
this program is the smiles on the visitors’
faces as they leave the Museum. One
woman got off the bus grumbling that
she wished she hadn’t come, while viewing the first work of art she remained sullen, and as she moved to the second station she stated that she would rather be
at home. Taking this
cue, I asked what she
likes doing when she
®
is home. This started
a brief discussion
about what she likes
to read and by the
time she moved to
the third station she
For Framing & Display Cases
was smiling, relating
the work of art to her
life during the depression, and left telling
us how she wanted to
return. While others
are easier to engage,
it is my hope that evanti-reflective
anti-static
abrasion resistant
UV protection
eryone leaves having
a positive experience
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security to express
themselves in an accepting and encouraging environment.
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Regina A. Quick Center for the Arts
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Photographs by Hildreth Meiere Dunn
Optium Vitrine Fabricated by Gemini Moulding.
VAM: How are you
evaluating this program? What are your
future plans?
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Summer 2011
The Mariners’ Museum
Member Profile
Newport News museum “takes off” with distance learning
A
s their Interactive Videoconferencing (IVC) program
materials explain,“The Mariners’ Museum is located in Newport
News, Virginia, but our educational
reach extends far beyond our physical doors.“ Because of a robust
distance learning program, using
IVC, The Mariners’ Museum offers
programming to schools across the
country and around the globe.
in to the Museum.That has changed - these
days, museum programs are developed
with both avenues of delivery in mind.
York State. Additionally, they’ve taught
programs to students in Canada, The
Dominican Republic, Spain, and Taiwan.
The Mariners’ Museum now offers
a variety of IVC programming: two
language arts programs, four science
programs, and nine social studies programs for schools, in addition to special
programs for adult learners. School
programs align with national standards
of learning and can be adjusted to
meet the specific needs of classroom
teachers and students. Additionally,
while some programs may be available
to a wide range of grade levels, each
program is adjusted to the grade level
of the students participating. Distance
learning programs are delivered ondemand using H.323 protocol.
According to Anne Marie Millar, director
of education and distance learning
programs at The Mariners’ Museum,
“Any museum interested in offering
educational program via interactive
videoconferencing will need to keep
two primary things in mind. First and
foremost, they cannot be afraid of technology. Secondly, it is imperative that
they look beyond the Virginia Standards
of Learning to learning standards across
the nation. It takes a lot of work, but the
result is extremely rewarding! We’ve
enjoyed meeting and working with
teachers and students from across the
country and around the world. But more
importantly, all of our programming has become
more innovative because
we are thinking about
how we can incorporate
technology into all of our
educational offerings
- for students walking
through our physical
AND virtual doors.”
Incidentally, the folks at
The Mariners’ Museum reThe distance learning program at The
cently got word that they
Mariners’ began in 2002 when the Mureceived the 2011 Berrien
seum connected all the way to a school
County
Teachers’ Favorite
Armalita
Holley,
Museum
Educator,
works
in
one
of
the
Interacsix miles away. Anna Holloway, director
Award
for
the category of
tive
Videoconferencing
studios
at
The
Mariners’.
of education at the time, even drove
Best World History Musethe program supplies to the school.
ums & Organizations. Find
The program has been growing steadily out more at http://www.berrienresa.
The first IVC studio was in a trailer (see
- especially since the Museum’s studios
photo, below). The first programs develorg/technology/vc/contentproviders/
have expanded from a single studio in
oped were based on programs already
teachersfavorite/2011/.
taught at The Mariners’ to students coming a trailer in 2002 to the new three-studio
IVC Programs at the Mariners’
area in 2009. These days, the Museum
can present three programs simultaneScience
ously. The most IVC programs delivered
• Big Winds, Big Waves: The Science of
in a single day was 15. Program numHurricanes (Grades 4 – 9)
bers have grown from 258 in 2008 to 352 • Tsunamis: Mighty Harbor Waves
in 2010. Programs are far-reaching; The
(Grades 5 – 12)
Mariners’ has taught programs to over
• Chemistry of Conservation (Grades 6 – 12)
half of the states in the nation, with the
• Chesapeake Bay: An Estuary in Crisis
largest markets being Texas and New
(Grades 4 – 9)
Social Studies’ Programs
• Age of Exploration (Grades 1 – 12)
• Titanic (Grades 4 – 12)
• Pirates (Grades 2 – 12)
• Riding in a Log Canoe (Grades K – 3)
• Sailing into Thanksgiving (Grades K – 2)
• Around the World with Santa (Grades Pre-K-2)
• Clash of Armor (Grades 4 – 12)
• Captive Passage: Investigating the Transatlantic Slave Trade (Grades: 4 – 12)
• Life at Sea (Grades K – 12)
Language Arts Programs
• Anansi and other African Tales (Grades K – 3)
• Tales Across Two Seas (Grades K – 12)
Special Programs for Adult Learners
• Searching for the Northwest Passage
• The Franklin Expedition: Tragedy in Ice
• From the “Haven of Death” to Nordenskiold: The
Search for the Northeast Passage
• Ventures to the Bottom of the World
• Dangerous Crossings: The First Modern Polar
Expedition, 1925 (Dr. Harold Cones, Author)
2012
“Launching New Connections”
Newport News has a rich shipbuilding heritage, and has launched countless ships into the world
from its famous shipyards. As museum professionals, we launch into community partnerships,
ambitious new museum projects, and sometimes unexpected collaborations every day. Just as
modern shipbuilding demands innovation and cooperation, so our museums need to explore
new ideas and forge new relationships to stay vibrant and relevant. We hope you’ll join us to enjoy
the hospitality of Newport News, and to launch a few new connections of your own. Your career,
your colleagues, your museum, and your community will thank you!
If you are interested in proposing a session at next year’s conference, watch for our Request
for Proposals - it will be arriving in your email inbox soon, and it will be posted online at
www.vamuseums.org!
Save the Date!
The VAM 2012 Annual Conference will be held at the Marriott Newport News at City Center
from March 17-20, 2012. It’s a great professional development value - do it for your career!
If your museum is interested in learning
more about distance learning at The Mariners’ Museum, you may contact Anne Marie
Millar, Director of Education and Distance
Learning Programs at (757) 591-7748 or
[email protected].
VAM Conservation Assessment Grantees Announced
The Mariners’ Museum, an educational, nonprofit institution accredited by the American
Association of Museums, preserves and interprets maritime history through an international collection of ship models, figureheads,
paintings and other maritime artifacts. It is
home to the USS Monitor Center, which is the
official repository for artifacts recovered from
the Civil War ironclad ship.
This year, we are pleased to announce two grant winners:
The Mariners’ Museum is open from 10 a.m.
until 5 p.m. Wednesday through Saturday,
and 12 to 5 p.m. Sunday. For information, visit
www.MarinersMuseum.org, call (757) 596-2222
or write to The Mariners’ Museum, 100 Museum
Drive, Newport News, VA 23606.
This year, for the fourth year, VAM offerred the VAM Conservation Assessment
Grant program. Through the generosity of Rick Vogt of the F.C. Vogt Company, Inc., VAM offerred a grant for the conservation assessment of furniture,
wooden artifacts and architectural woodwork.
The Hampton Roads Naval Museum will receive a conservation assessment of a wooden sailor’s box, dated 1809.
The Adam Thoroughgood House (City of Virginia Beach Department
of Museums) will receive a conservation assessment of architectural woodwork inside the house.
Congratulations to both of our grantees! The assessments will take place
over the summer. A committee made up of a conservator, an art curator, a
historic house curator, the VAM Executive Director, and a VAM board member
reviewed applications and made recommendations for assistance. (Mr. Vogt
was not part of the selection process.)
Many VAM members, especially from smaller museums or historic houses,
have objects in their collections which are in need of conservation, but funds
are lacking to hire a professional conservator to assess the conservation
needs - let alone pay for - the actual conservation. An accurate, professional assessment is the first step to applying for financial assistance with conservation work to a number of granting rganizations.
Summer 2011
Museum News in Your
VAM News
Member News
Thanks to a
Connecting
to Collections
Statewide
Implementation grant from the IMLS, the
Virginia Association of Museums will partner
with the Library of Virginia, Virginia Department of Historic Resources, Virginia Conservation Association, the Mid-Atlantic Regional
Archives Conference, Preservation Virginia
and John Tyler Community College for the Virginia Collections Initiative. Under the Initiative,
we will implement several projects designed
to address the collections needs of museums,
libraries and archives in Virginia. Read more
about the various projects related to the
Initiative in the Director’s Corner on page 12.
After nearly nine years of planning, and
two years under construction, the City of
Portsmouth opened its spectacular, ALL NEW
72,000-square-foot Children’s Museum of Virginia on Thursday, May 26th. Congratulations!

MUSENET
2011 VAM British Exchange Program:
The American Civil War in England
Join us October 21-27
in London & Liverpool
* Need an incentive to
help you decide? If you
sign-up for this amazing trip by June 10, you
can deduct $50 from
your land package cost!
Summer Workshop
August 1, 2011
Preventative Conservation
Virginia Museum of Fine Arts Conservation Labs
During our 2011 Annual Conference, VAM
President Joe Gutierrez issued a challenge.
He challenged all members of VAM to make
a financial contribution, participating at
whatever level they wished - $1 to $100 - toward VAM’s goal of raising $2,500 to support
the conversion to an up-to-date association
management software system. If you would
like to show your support for VAM, please
send a check payable to:
Attn: VAM President’s Challenge
VAM
200 South 3rd St.
Richmond, VA 23219
Look for VAM (and
share some Cultsha
bucks with us!) at the
Richmond Culture
Works CultshaXpo on
June 25th at the Science Museum of Virginia.
We’ll be promoting Virginia TimeTravelers! The
2011 Virginia TimeTravelers Program began in
March. Our 2011 Theme is “Turning Points.”
10
From AAM: Please join the Museum Assessment Program (MAP) in congratulating its
latest group of accepted museums, including
the following in VA:
kicked off this year’s Richmond History Makers.
The seventh annual program recognizes five
everyday citizens and outstanding organizations that are making largely unrecognized
contributions to communities within the
Greater Richmond Metropolitan area. The public call for nominations is May 1 - June 30, 2011.
Historic Sandusky, Lynchburg, VA, Organizational MAP
University of Mary Washington Galleries, Fredericksburg, VA, Community Engagement MAP
For museums interested in participating in
MAP, AAM now offers two deadlines: July 1st
and December 1st.
Many VAM members are participating in Blue
Star Museums! The Blue Star Museums initiative is a partnership among Blue Star Families,
Join us in congratulating Kluge-Ruhe Aborigi- the National Endowment for the Arts, and
nal Art Collection of the University of Virginia more than 1,000 museums across America.
in Charlottesville and the University of Mary First launched in the summer of 2010, Blue
Washington Art Galleries in Fredericksburg. Star Museums once again are offering free
The museums are 2011 CAP Participants.
admission to active duty military personnel
and their families from Memorial Day, May 30,
The Royal Institute of British Architects
2011, through Labor Day, September 5, 2011.
(RIBA) has announced the 2011 RIBA International Awards for buildings displaying
Governor Bob McDonnell announced $41
architectural excellence, and Virginia Mumillion in funding for construction of a new
seum of Fine Arts is one of the 13 recipients, Yorktown Victory Center through the sale of Viramong only three United States projects.
ginia Public Building Authority bonds. Planning
Congratulations!
has been under way since 2007 for replacement
of the museum, which chronicles the American
From the Mariners’ Museum: on June 6, the USS
Revolution. The announcement of the funding
Monitor received the Historical Landmark Deswas first made at the semi-annual meeting of
ignation from the American Society of Metals.
the Jamestown-Yorktown Foundation Board of
Center in the Square is delighted to be one of Trustees, held May 12th.
the nine $100,000 recipients of the first round
At the Chrysler Museum of Art, work is proof Taubman Foundation Sustainability Grants.
ceeding on schedule for the grand opening
Monticello’s Director of Gardens and
of the new Glass Studio, and with the interGrounds, Peter Hatch was awarded the Gar- nal wiring and utility infrastructure in place,
den Club of America Historic Preservation
the glassmaking equipment is arriving next!
medal at the club’s annual Medal Awards
Additionally, Chrysler Museum of Art’s
Dinner, held in Indianapolis, Indiana.
iPhone/iPod app is now available as a free
download. Visitors can listen to audio tours,
Gari Melcher’s Home and Studio at Belmont
share works of art with friends and keep up
received a $5,000 grant from the Duff McDuff
to date with upcoming events. For those who
Green Jr. Fund of the Community Foundation
haven’t made it into the iWorld yet, no worof the Rappahannock River Region. The monries. Visitors can pick up an iPod with the app
ey will go towards restoration of the original
preloaded at the Museum. They are free to
Dining Room draperies and furniture left
Members, and $3 for all others.
by the Melchers. Additionally, Dave Ludeker,
Building and Grounds Assistant at Belmont, Governor Bob McDonnell signed an historic
received the University of Mary Washington’s cultural exchange agreement to bring “TreaStaff Advisory Council “Couldn’t Do it Without sures from the Forbidden City,” a showcase of
You Award.” Congratulations!
approximately 200 objects from Beijing’s Palace
Museum to Virginia in the summer of 2014.
The Valentine Richmond History Center has
Backyard, and Beyond...
Preservation Virginia has created a Google Map
that contains general locations, images and a brief
history of some endangered or forgotten historic
family cemeteries in Virginia. If you know of a
cemetery that you would like to add to the map,
please contact Sonja Ingram at (804) 551-3249.
The Commonwealth Coach & Trolley Museum announces the restoration of two of the most significant coaches in its fleet, buses with extensive years
of service in Blacksburg, Richmond, and Northern
Virginia.The newly restored buses are a 1962 GMC
New Look coach from the AB&W (Alexandria, Barcroft & Washington) Bus Company and a 1966 GMC
New Look coach from the Virginia Transit Company
in Richmond. Each coach has been restored to its
original livery (design and paint scheme) and original coach number when bought new.
The Maggie L. Walker Governor’s School for
Government and International Studies captured
its second national victory in the We the People:
The Citizen and the Constitution National
competition in Washington, D.C. The Maggie L.
Walker team won the right to advance to the
national competition when it defeated 10 Virginia public and private high schools earlier this
year in the Virginia We the People State Finals,
sponsored by The Center for the Constitution at
James Madison’s Montpelier.
Secretary of State Hillary Rodham Clinton
received the 2011 Marshall Foundation Award
at a black-tie dinner on June 2nd at the National
Building Museum in Washington, DC.
The Virginia Historical Society is looking for donations of gently used history-related books. These
items will be collected by the VHS Museum Shop
and featured in a huge, deeply discounted book
sale during a Family Day Open House on July 9.
Andreé Brooks has been appointed Interim
Executive Director of the Science Museum of
Western Virginia. She has extensive experience
serving non profit organizations in the Roanoke
Valley as Executive Director and has been very
active in the community as a volunteer.
Highway Information Media LLC has added a
“Museums” button to the Welcome Center kiosk
Carol Amato died June 1, 2011 at Hospice of
touchscreen start page. Travelers now have a direct
Virginia, Retreat Hospital, Richmond, Va. In 1994,
selection to open-up information on Museums!
Carol became Chief Operating Officer for the
Virginia Museum of Fine Arts, serving for 16
Hails/Farewells
years until her retirement in 2010. She steadily
Former VAM President
guided the museum through some of its most
Scott Harris has been
challenging times and shepherded a buildnamed director of the
ing program which resulted in VFMA’s largest
James Monroe Museum
expansion in its 75-year history. In addition
and Memorial Library in
to her pleasure in the increased educational
Fredericksburg. Harris,
facilities this created for children, Carol took
who currently serves
particular joy in the fact that the centerpiece
as director of the New
of this expansion, the James W. and Frances G.
Market Battlefield State
McGlothlin Wing, was recently recognized by
Historical Park in New
the Royal Institute of British Architects (RIBA) as
Market, VA, will begin
a recipient of a 2011 RIBA International Award
work at the museum July 18. He replaces John
for buildings displaying architectural excellence.
Pearce who retired after 27 years service to UniCarol will be sorely missed at the VMFA and in
versity of Mary Washington, including 14 years
the museum community.
as director of the museum. As director, Harris
will be responsible for the management of daily
For those who wish to do so, the family suggests
operations at the museum, including long range
memorials to one of the following: The Carol
planning, fundraising, supporting research and
Amato Art for Kids Fund, VMFA Foundation, 200
publications, coordinating events and physical
N. Boulevard, Richmond, Va. 23220; Hospice of
improvements.
Virginia, 1700 Bayberry Court, Suite 300, RichAlso from the James Monroe Museum: Our won- mond, Va. 23226; The VCU Massey Cancer Center,
derful curator, Meghan Budinger, left the museum Development Office, P.O. Box 980214, Richmond,
at the end of May to begin her new job as Director Va. 23298.
of Curatorial Services at the George Washington
Foundation. Farewell, and best of luck to Meghan!
The Robert H. Smith Center at Montalto, Thomas
Jefferson’s ‘high mountain’ overlooking Monticello, was dedicated with the Robert H. Smith
International Center for Jefferson Studies confer- Leslie King is leaving her post as executive
ence “Jefferson’s Adversaries: British Leadership in director of the Edith Bolling Wilson Birthplace
the American War of Independence” May 13-14. Foundation and Museum after two years. Says
With Center in the Square closing for renovations, King, “These years have been both challenging
the Science Museum of Western Virginia will move and rewarding....we have been able to accomplish a lot. However, it is time for me to pursue
to Tanglewood Mall until the Center reopens in
the fall of 2012. Additionally, The History Museum new avenues and creative endeavors beyond
the Museum. And though I will miss the Muof Western Virginia will move to a temporary
seum, Mrs. Wilson, and all the amazing people I
location in the Shenandoah Hotel on Campbell
Avenue. The History Museum of Western Virginia have had the opportunity to work with, I know
has also announced the final phase of their Capital I leave the organization in most capable hands.
Campaign: Crossroads of History! They are seeking I commend the founders of the Foundation, Bill
an additional $1.5 million to renovate the exhibi- and Farron Smith, for their continued support
tion galleries in the History Museum and upgrade and energy and I thank them for allowing me to
have had the opportunity to fulfill a life dream
collections and archival storage areas.
of being a museum director.”
The Miller-Kite House, Stonewall Jackson’s Headquarters, opened for the season on Sunday, May From the Virginia Historical Society: Greg Hansard is now senior web resources officer for the
29th. For further information contact Casey
Virginia Historical Society. Jennifer Nesossis is
Billhimer at 540-578-3046.
now programs officer. Congratulations!
Summer 2011
11
Director’s Corner
Dear Members,
Although it doesn’t technically
begin until June 22, I always
think of Memorial Day and
June 1 and the real start of
summer. In the past, summer
often meant slowing down a
bit, taking a breather and finally filing all of those papers that
pile up on the desk, credenza,
chairs – just about everywhere
there is a space. This summer,
however, VAM is exploding out
of the gate with a fast rampup on our recently-awarded
Connecting to Collections
Implementation Grant from
the Institute of Museum and
Library Services.
board can practicably accomplish. VAM will also develop
a wide array of Online Collections Training, both for-credit
academic courses through
John Tyler Community College,
and more informal webinars
to be offered through the VAM
website. These courses will be
designed to teach skills in collections care and management,
preventative conservation, disaster planning and response,
marketing for collections need,
fundraising, and more.
Disaster Preparedness: VAM
will hold a series of eleven Disaster Plan Lockup workshops
throughout Virginia during the
two-year period, beginning
late summer. If you’ve been
meaning to get around to a
disaster plan for your museum,
this program is for you! The
workshops will be designed
to utilize three disaster plan
templates (for varying sizes
and situations of museums)
to make sure you leave the
workshop with a completed
disaster plan. The grant will
also help us to reinforce
There are quite a few programs
existing Museum Emergency
covered by the grant, and we
Support Teams and support
are all really excited about the
the establishment of new ones
ability to expand collections
in the communities where the
management assistance to VA
lock-ups will be held.
museums. The programs fall
into three categories:
Marshalling Public and Private
Support: VAM will once again
Safety of Collections: The
work with Richmond-based
grant will fund our Circuit
marketing firm ToMarket to
Rider program for two more
develop a Top Ten Endangered
years, allowing us to serve 20
Artifacts media campaign.
museums and sites, ten each
Museums will submit objects,
year. A team (museum curator
the public will vote via social
and archivist) will complete a
media, and a peer panel will
site collections assessment and
review and select the top ten
provide suggestions for speand honorable mentions. The
cific actions and strategies to
idea is for museums to use
achieve short-term (1-2 year)
their status in efforts with doprioritized needs that staff/
12
Our Governing Council
President, Joe Gutierrez
VP, Planning & Resources, Sean Fearns
VP, Programming, Tracy Gillespie
Secretary, Barbara Batson
Treasurer, Al Schweizer
Past President, John Verrill
Ex-Officio Member, Robert C. Vaughan
Directors
Gretchen Bulova
Anna Holloway
Donald Buma
Melanie L. Mathewes
Norman Burns
Robin Nicolson
April Cheek-Messier Cheryl Robinson
Diane Dunkley
Barbara Rothermel
Lin Ezell
Gary Sandling
Patrick Farris
Charlotte Whitted
Page Hayhurst
O u r St a f f
Executive Director, Margo Carlock
Deputy Director, Jennifer Thomas
Communications Dir., Heather Widener
Accountant, Su Thongpan
Project Manager, VCI, Christina
O u r Vo i ce
VAM Voice is a member benefit published quarterly for museum professionals and volunteers. The editor
encourages readers to submit article
proposals. Contact the Communications Director for more information.
nors or in grant applications to
fund needed conservation on
their treasured artifacts.
We will be partnering with
Preservation Virginia and coordinating all marketing efforts
with their “Most Endangered
Historic Sites” list to create a
complimentary awareness
campaign for preservation.
Does your museum have an
item in its collections that
desperately needs conservation? Get ready – applications
will be available by mid-July,
with the winners announced
November 1.
This two-year, $245,000 grant
is the largest one VAM as
undertaken. Watch for launch
announcements for the various
grant programs over the next
O u r Co nt a c ts
Phone: 804.788.5820
Fax:
804.788.5826
www.vamuseums.org
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
O u r News D eadlines
Spring: February 1st
Summer: May 1st
Fall:
August 1st
Winter: November 1st
Our Mission
The Virginia Association of Museums
is a non-profit, professional membership organization for museums and
individuals associated with museums,
primarily in Virginia and Washington,
DC, serving all museum disciplines.
The Association provides education,
information, resource and support services, facilitates communication among
the institutions and individuals of its
membership, fosters inclusiveness and
serves as an advocate to governmental
and other decision-making authorities
on issues relating to museums.
few months. If you have any
questions, just contact me at
the VAM office.
Sincerely,
Margo
Margo Carlock,
Executive Director
Virginia Association of Museums
[email protected]