Hi Nikki! I love this inquiry. We create a lot of free educational resources for academic institutions here at Artwork Archive.?
Top of mind is our webinars. Here is a link to our recordings which?cover insurance, appraisals, donations, making your collection more accessible to your audience,?and CMS topics like reports, location/loan tracking, contact management etc :?.?
I have an upcoming webinar with Huntington T Block about insurance on January 23rd:?
We also have many articles on our that address your topics.?
I'd be happy to connect so that I can send you specific resources.
Cheers, Elysian
Dear AAMG Colleagues,?
?
I am currently exploring ways to better support my team through educational opportunities. I'm seeking recommendations for reputable online professional development workshops/courses that address topics such as:?
?
- drafting artwork insurance agreements/ artist contracts
- grant writing?
- non-profit arts management?
- collections management?
?
Thank you in advance for any recommendations you are willing to provide!?
?
My best,?
Nikki Woods
?
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Nikki Woods?she/her
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Director, Reinberger Gallery?
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Cleveland Institute of Art?| College of Art + Design
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11610 Euclid Ave, Cleveland, OH 44106 |?
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?
?
?
?
?
-- Elysian McNiff Koglmeier (she/her)
Head of Partnerships
Artwork Archive
Part Time Hours Online: Mondays, Tuesdays and Thursdays
National Organization for Arts in Health (NOAH) Board Treasurer
|
Dear AAMG Colleagues,?
?
I am currently exploring ways to better support my team through educational opportunities. I'm seeking recommendations for reputable online professional development workshops/courses that address topics such as:?
?
- drafting artwork insurance agreements/ artist contracts
- grant writing?
- non-profit arts management?
- collections management?
?
Thank you in advance for any recommendations you are willing to provide!?
?
My best,?
Nikki Woods
?
|
Nikki Woods?she/her
|
|
Director, Reinberger Gallery?
|
|
|
|
Cleveland Institute of Art?| College of Art + Design
|
|
11610 Euclid Ave, Cleveland, OH 44106 |?
|
|
|
?
?
?
?
?
|
Save the date - AAMG Annual Conference just around the corner! Sponsor slots available and student scholarships posting soon!
The AAMG Annual Conference is just around the corner! Join us for engaging sessions, inspiring keynotes, and valuable networking opportunities that will spark ideas and strengthen our shared mission. ???
Save the date and stay tuned for more details¡ªwe can¡¯t wait to see you there!
Support the academic museum and gallery community by sponsoring the AAMG Annual Conference! Showcase your brand, connect with key leaders and professionals, and be part of this inspiring event¡ªdon¡¯t miss your chance to make an impact! Reach out to Alexandra at aacademicmg@... today to secure your sponsor slot!
Calling all students! ? AAMG is thrilled to offer student scholarships to cover registration for our upcoming Annual Conference. This is your chance to connect with industry leaders, gain insights, and advance your career in academic museums and galleries¡ªall without worrying about registration fees. ? Applications open January 15!  Stay tuned for application details, and get ready to join us for an unforgettable experience! ____________________________
Alexandra Chamberlain AAMG Director of Operations
765.630.7202
|
Re: Museum Studies Examples Request
Hi there! The Vincent Price Art Museum at East Los Angeles College supports our colleagues in the Art Department to offer a Museum Studies Certificate Program. Our Museum Director teaches the internship course and museum staff support the program through tours, lectures, and internships,?and other partnerships.
Check it out here:
All my best, Joseph
Joseph Daniel Valencia (he/him/¨¦l)
Curator of Exhibitions?
Vincent Price Art Museum Foundation?
East Los Angeles College?
1301 Avenida Cesar Chavez? Monterey Park, CA 91754?
Office: +1 (323) 285-1767
Website: | Instagram:
Thank you very much, Brent, and everyone else who responded.
I truly appreciate learning about your classes and the academic programs you offer.
With thanks, Anna?
Anna Conlan
Neil C. Trager Director
Samuel Dorsky Museum of Art
SUNY New Paltz
1 Hawk Drive
New Paltz, NY 12561
Tel: 845.257.3847
?
Pronouns: she/her/hers
CAUTION: Message from a non-New Paltz email server. Treat message, links, and attachments with extra caution.
Anna:
Over the years, the Georgia Southern Museum has worked hard to ensure that while we maintain a strong outreach program to the community, we are also well integrated into the academic program of the University. Some of our successes have been:
1. a standing relationship with the Art Department where each Fall a senior graphic design course divides the students into teams that compete to develop the winning design for the museum's next changing exhibit which is fabricated in the Spring semester.
The Museum and its faculty curator serve as the client and provide a budget, content, and direction for the teams. They in turn develop an overall layout and look for the exhibit including ideas for interactives, marketing materials, and related merchandise.
We meet half way through the semester to give them feedback on their proposed designs and choose a winning design?at the end of the semester.
2. a unique collaboration between the museum, the Department of History, and the local Convention and Visitors Bureau where I teach an Graduate Introduction to Museums course as part of the MA in History with a concentration in Public History. It is the
only course I teach as an adjunct member of the department. Otherwise I am administrative staff. The course introduces students to the history and many functions of museums, especially through the lense of exhibits. The final project of the course is the students
to develop and fabricate an exhibit in a 1000 sq foot gallery on local?history at the Convention and Visitors Bureau. The CVB provides the budget for fabrication and the services of a graphic designer.?
3. The museum regularly collaborates with professors across the university who would like to have the museum integrate with their course to have students disseminate their research and learning in that course by developing an exhibit as part of the course
objectives. These range from individual case exhibits to larger spaces in the library or a gallery reserved for student projects.
4. Each year we call for proposals from graduate students, primarily in History and Anthropology, and accept one to work with the museum to create an exhibit on their thesis research in a special case in our permanent gallery on cultural history of Georgia's
Coastal Plain. This allows us to highlight student research not currently represented in the gallery, and provide them another important dissemination point for their work. Recent exhibits have looked at the preservation of African American cemeteries and
the stories of slavery they preserve, the importance of mules in southern agriculture, the Georgia oystering industry and the loss of African American oystermen through government regulation, and an upcoming exhibit on the history of the introduction of Mexican
food traditions in Georgia.
Brent
Hello Colleagues,
It feels like the right moment to integrate our museum more deeply into the university's academic offerings, rather than simply operating as a co-curricular resource. To that end, we're collaborating with our Art History department to develop an undergraduate
Museum Studies minor.
?
I am seeking ways to incorporate the museum into syllabi without adding to our small team's already full plates.
I¡¯d be enormously grateful for any examples, syllabi, or stories of success¡ªor caution¡ªthat could help guide us in designing this program.
?
Our goal is to make it highly vocational, perhaps including museum staff as guest speakers and utilizing the collection for hypothetical student exhibition curation (since space constraints prevent us from hosting student shows).
Thank you in advance for your insights, examples, and support!
Anna
?
Anna Conlan
Neil C. Trager Director
Samuel
Dorsky Museum of Art
SUNY
New Paltz
1
Hawk Drive
New
Paltz, NY 12561
Tel:
845.257.3847
?
Pronouns:
she/her/hers
?
--
Brent W. Tharp, Ph.D.
Director, Georgia Southern University Museum
912-478-5444 /
Pronouns: He/Him/His
Adjunct Assistant Professor, Department of History
Board Member - Statesboro Convention and Visitors Bureau?
Vice President - Bulloch County Historical Society?
Accreditation & MAP Peer Reviewer - American Alliance of Museums?
? ? ? ? ? ?
|
Bloomberg Connects Info Session - Tuesday, January 14
AAMG Members,
Happy New Year! And happy Friday!
A quick note that we are hosting another info session for academic museums and galleries next Tuesday, January 14 at 1pm EST. If you are interested please fill out this and .
Following the info session, we are also planning to run a special academic museum and gallery-specific cohort ("class") kicking of the week of January 27, in time to have you on the app by springtime.
Below is a bit more info about Bloomberg Connects.
Have a wonderful weekend and we hope to see you next week!
Alex and the Bloomberg Connects Team
About Bloomberg Connects: Bloomberg Connects is a free app that offers digital guides to over 750 museums, galleries, historic houses, gardens, and other cultural spaces around the world. It is designed to provide an enhanced experience for onsite visitors or the chance to virtually explore an organization anytime, from anywhere. The app is completely free for users and completely free for all of the participating cultural organizations. Our team provides training, marketing support, and access to a community of cultural institutions - all as part of the mission of Bloomberg Philanthropies to expand access to arts and culture. Bloomberg Connects currently partners with approximately 60 academic museums and galleries around the world and is looking grow this community on the app.
|
ICYMI - New things coming to AAMG...soon
 No,
your screen isn't blurry...we just have something new coming soon that
we wanted to tease...What could this be? A new galaxy? A macro shot of
your favorite sweater? Or...something big from AAMG? New things coming
your way...soon... Oh and Happy New Year!
____________________________
Alexandra Chamberlain AAMG Director of Operations
765.630.7202
|
Re: Museum Studies Examples Request
Thank you very much, Brent, and everyone else who responded.
I truly appreciate learning about your classes and the academic programs you offer.
With thanks, Anna?
Anna Conlan
Neil C. Trager Director
Samuel Dorsky Museum of Art
SUNY New Paltz
1 Hawk Drive
New Paltz, NY 12561
Tel: 845.257.3847
?
Pronouns: she/her/hers
toggle quoted message
Show quoted text
|
|
You don't often get email from btharp@....
|
|
CAUTION: Message from a non-New Paltz email server. Treat message, links, and attachments with extra caution.
Anna:
Over the years, the Georgia Southern Museum has worked hard to ensure that while we maintain a strong outreach program to the community, we are also well integrated into the academic program of the University. Some of our successes have been:
1. a standing relationship with the Art Department where each Fall a senior graphic design course divides the students into teams that compete to develop the winning design for the museum's next changing exhibit which is fabricated in the Spring semester.
The Museum and its faculty curator serve as the client and provide a budget, content, and direction for the teams. They in turn develop an overall layout and look for the exhibit including ideas for interactives, marketing materials, and related merchandise.
We meet half way through the semester to give them feedback on their proposed designs and choose a winning design?at the end of the semester.
2. a unique collaboration between the museum, the Department of History, and the local Convention and Visitors Bureau where I teach an Graduate Introduction to Museums course as part of the MA in History with a concentration in Public History. It is the
only course I teach as an adjunct member of the department. Otherwise I am administrative staff. The course introduces students to the history and many functions of museums, especially through the lense of exhibits. The final project of the course is the students
to develop and fabricate an exhibit in a 1000 sq foot gallery on local?history at the Convention and Visitors Bureau. The CVB provides the budget for fabrication and the services of a graphic designer.?
3. The museum regularly collaborates with professors across the university who would like to have the museum integrate with their course to have students disseminate their research and learning in that course by developing an exhibit as part of the course
objectives. These range from individual case exhibits to larger spaces in the library or a gallery reserved for student projects.
4. Each year we call for proposals from graduate students, primarily in History and Anthropology, and accept one to work with the museum to create an exhibit on their thesis research in a special case in our permanent gallery on cultural history of Georgia's
Coastal Plain. This allows us to highlight student research not currently represented in the gallery, and provide them another important dissemination point for their work. Recent exhibits have looked at the preservation of African American cemeteries and
the stories of slavery they preserve, the importance of mules in southern agriculture, the Georgia oystering industry and the loss of African American oystermen through government regulation, and an upcoming exhibit on the history of the introduction of Mexican
food traditions in Georgia.
Brent
Hello Colleagues,
It feels like the right moment to integrate our museum more deeply into the university's academic offerings, rather than simply operating as a co-curricular resource. To that end, we're collaborating with our Art History department to develop an undergraduate
Museum Studies minor.
?
I am seeking ways to incorporate the museum into syllabi without adding to our small team's already full plates.
I¡¯d be enormously grateful for any examples, syllabi, or stories of success¡ªor caution¡ªthat could help guide us in designing this program.
?
Our goal is to make it highly vocational, perhaps including museum staff as guest speakers and utilizing the collection for hypothetical student exhibition curation (since space constraints prevent us from hosting student shows).
Thank you in advance for your insights, examples, and support!
Anna
?
Anna Conlan
Neil C. Trager Director
Samuel
Dorsky Museum of Art
SUNY
New Paltz
1
Hawk Drive
New
Paltz, NY 12561
Tel:
845.257.3847
?
Pronouns:
she/her/hers
?
--
Brent W. Tharp, Ph.D.
Director, Georgia Southern University Museum
912-478-5444 /
Pronouns: He/Him/His
Adjunct Assistant Professor, Department of History
Board Member - Statesboro Convention and Visitors Bureau?
Vice President - Bulloch County Historical Society?
Accreditation & MAP Peer Reviewer - American Alliance of Museums?
? ? ? ? ? ?
|
Re: Celebrate with us, our January Member of the Month!
? Meet AAMG¡¯s January 2025 Member of the Month: Estela Garz¨®n! ?
As Gallery Coordinator at the Jordan Schnitzer Museum of Art at Portland State University, Estela is passionate about making museums inclusive and accessible spaces for all. This month, she¡¯s excited to share her research on Jeremy Okai Davis, would trade places with Batman if she could for a day because who wouldn¡¯t want to save the day in the Batmobile, and when she¡¯s not curating transformative museum experiences, she¡¯s diving into books like Sea of Rust. Oh, and her favorite joke? ?Qu¨¦ le dijo el cuchillo a la gelatina? ?No tiembles, cobarde!
Thank you Sara for sharing your time and talents with AAMG! To learn more about Sara, visit our page!
|
Traveling Photography Exhibitions Centered on Exploration
?
The first photographers were scientists, perfecting chemical processes that made the permanent capture of an image possible. Soon, photographers became explorers, using their cameras as tools to tell the stories of parts unknown. art2art offers a number of shows focused on exploration:
?
Some of the first explorers to head west in America were photographers, including Carleton Watkins, William Henry Jackson, Eadweard Muybridge and F. Jay Haynes, all featured in our comprehensive traveling exhibition. Through their memorable pictures, we come to know a truly colorful group of American pioneer artist-entrepreneurs.?The show?is a visual synopsis of the Era of Exploration and a touchstone for discussion of the issues involved in the opening of the American West.
For his first major photographic project, Walker Evans explored Cuba during a corrupt and?oppressive government led by President Gerardo Machado. While in Cuba, the photographer?met author Ernest Hemingway. The two became fast friends.?During this time,?Evans honed his signature?spare, unemotional approach, free of artifice and ¡°artiness,¡± the photographic equivalent of Hemingway¡¯s stripped-down literary style.
John A. Chakeres documented the Space Shuttle from 1981 to 1986, a period that marked?the first reusable manned spacecraft, the first mission to launch and retrieve satellites while in space and the first time to launch an American woman into space. In those five years, NASA had four operational Space Shuttles: Columbia, Challenger, Discovery and Atlantis, which comprised the first fleet of manned spacecraft.?
Expatriate photographers from around the world were drawn to Mexico City in the 1920s-30s, including Edward Weston,?Tina Modotti and Henri Cartier-Bresson. The photographs resulting from their exploration take centerstage in this stellar exhibition.?
Transylvania-born Brassa? compulsively explored the night world of Paris. Sometimes alone, sometimes accompanied by friends, like the writers Henry Miller or Jacques Pr¨¦vert, Brassa? witnessed aspects of Parisian night life and created unforgettable images that have become synonymous with the city itself. John Szarkowski, former director of the MoMA, once said, " Brassa? shows a taste for the strange, the ambiguous, and the bizarre.¡±?
Enamored with the beauty of nature from an early age, Ansel Adams received his first camera at age 14, during his first visit to Yosemite National Park.?Our traveling show focuses on the masterful small-scale prints made by Adams from the 1920s into the 1950s. These works offer a rare glimpse into the evolution of one of the most iconic landscape photographers.
This exhibition offers spectacular images, from both native and Western photographers,?of Meiji-era Japan. Subject matter ranges from tranquil gardens?to bustling cities, Shinto priests and daimyos (feudal lords) to jinrikisha (¡®rickshaw¡¯) drivers and?child acrobats. Images capture daily life,?rituals and?monuments.
Dana Gluckstein spent three decades traveling the Americas, Africa, Asia and the Pacific, creating more than 60 portraits to express the theme of ¡°tribes in transition.¡± The show "Dignity"?provides urgency and a contemporary focus to the?worldwide movement for racial justice.
Photographer Mark Chester packed his bags for China in 1986 to spend six weeks immersed in Shanghai¡¯s cultural landscape. Shanghai and San Francisco had become sister cities on Jan. 28, 1980, one year after China and the U.S. established diplomatic relations. Chester's access to travel freely in Shanghai was unique because of the Sister City Agreement. The resulting exhibition represents a cross-section of Shanghai life ¡ª the arts, industry, education, sports, leisure, medicine, street life and portraiture, all discovered through Chester's exploration of the vibrant city.
For 20 years, art2art Circulating Exhibitions has offered enriching shows that appeal to art enthusiasts and cultural institutions alike. Focused on photography, the company presents works by renowned masters of the medium, as well as contemporary sensations. To learn more, visit
To book a show, email lindsay@...
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New Year, New Webinar! Art Collection Insurance
Pardon the cross-promotion
Artwork Archive is thrilled to bring back Adrienne Reid from Huntington T Block for an art collection insurance webinar on January 23rd. Here are the details:
Art Collection Insurance: What You Need to Know to Stay Protected Thursday, January 23rd 2pm ET | 11am PT
Navigating the world of art collection insurance can be overwhelming, but you don¡¯t have to do it alone. Join us for an exclusive webinar with an expert from Huntington T Block, where we'll cover the most common insurance questions faced by art institutions today.
Regardless of the size or location of your art collection, understanding your risks and coverage options is essential for safeguarding your objects.
What we'll cover in this one-hour live webinar:
- Emergency Preparedness: Explore strategies for protecting your collection in the event of unforeseen circumstances.
- Adapting to Changing Risks: As natural disaster risks evolve, learn how to update your insurance strategy to protect your fine art collection from emerging threats.
- Navigating the Claims Process: Get tips for effectively navigating the claims process if the worst happens.
- Limits of Coverage & Shipping/Storage Considerations: Understand the limits of your coverage, and what you need to know when it comes to shipping and storing valuable art.
- Risk Assessment: Identify your collection¡¯s vulnerabilities faced from natural disasters to theft to damage during transportation.
- Policy Essentials: Gain insight into the different types of art insurance policies available and what you need to know to make sure your collection is fully covered.
- Appraisal and Valuation: Learn how to ensure your artwork is properly valued, and why maintaining accurate records is essential for both insurance purposes and long-term care.
From this webinar you'll gain the confidence to make informed decisions about your coverage, and leave with practical strategies for keeping your artwork safe.
Don't miss this opportunity to ask questions directly to an insurance expert and get your collection properly insured for the future.
--Elysian McNiff Koglmeier?(she/her)
Head of Partnerships
Artwork Archive
Part Time Hours Online: Mondays, Tuesdays and Thursdays
National Organization for Arts in Health (NOAH) Board Treasurer
-- Elysian McNiff Koglmeier (she/her)
Head of Partnerships
Artwork Archive
Part Time Hours Online: Mondays, Tuesdays and Thursdays
National Organization for Arts in Health (NOAH) Board Treasurer
|
Spencer Museum Collection Manager Position
Dear AAMG colleagues,
The at the University of Kansas just opened a search for a Collection Manager. Position details below.
?
?
Position Overview
The Spencer Museum of Art at the University of Kansas stewards and supports broad public engagement with a collection of nearly 50,000 works of art
created across a wide range of time periods, geographic locations, and cultural affiliations. The Collection Manager works closely with the Head of Collection Management, fellow Collection Manager, the Curator of Global Indigenous Art and Lifeways (GIAL),
and Exhibition staff to care for the Spencer Museum of Art¡¯s collections, including the approximately 10,000 artworks in the GIAL department (62% North and Central American, 15% African, 9% South American, and 14% Asian, Oceanic, and European). This collection
encompasses historical and contemporary artworks across mediums that came to the Museum through a variety of channels, often by people associated with the University.
The Collection Manager is responsible for maintaining the physical well-being and documentation of the collection, contributing research and content knowledge for the GIAL collection and related exhibitions, class visits, scholarly and tribal requests, and
conducting public outreach. This position requires frequent interaction with various individuals, including donors, tribal representatives, volunteers, researchers, artists, students, faculty, and vendors. This position requires extensive participation in
all grant-funded projects that involve the collections, including building renovations, gallery reinstallations, and storage improvements and conservation.
Application Review Begins
17-Jan-2025.
Job Description
Collection Care ¨C 50%
-
Implement best collections management practices, including, but not limited to the following: accession and deaccession, registration and documentation, preservation, conservation, access, and risk management.
-
Provide long-term storage locations for collection objects, including ensuring appropriate materials are used, organizing and reorganizing storage furniture to provide adequate space, building storage mounts
and boxes, and taking mitigating actions against agents of deterioration.
-
Pack, transport, and handling of collection objects between Spooner Hall and Spencer Museum of Art for exhibition, research, and class requests.
-
Monitor the storage environment and other conditions in Spooner Hall. Work closely with facilities services to provide access for maintenance activities.
-
Develop and implement an integrated pest management plan, including monitoring, prevention, and mitigation activities.
-
Help write and revise collections management policies and procedures and develop and implement disaster preparedness and recovery plans.
-
Receive objects and prepare Incoming and Outgoing Receipts, including transporting, packing, and unpacking artwork; prepare condition reports.
-
Conduct periodic inventories of collection and maintain accurate records of object locations.
Collections Data Management ¨C 25%
-
Work with collection database managers to develop and implement metadata standards for collection objects.
-
Create new database records for incoming acquisitions, loans, new participants, literature records, etc.
-
Update and edit database records to ensure the most up to date information is available in both the internal database and online collection and ensure that the data retrieval for the online collection functions
properly.
-
Work with the Global Indigenous Art and Lifeways curator to ensure that the data for that collection is recorded in an appropriate manner and reflective of cultural sensitivity concerns.
-
Maintain object files.
Research, Exhibitions, and Outreach ¨C 20%
-
Assist with Native American Graves Protection and Repatriation Act (NAGPRA) compliance.
-
Conduct research on collections in the Global Indigenous Art and Lifeways department for the purposes of cataloging, reconciling records, improving artist information, publication, and information sharing with
source communities and the general public.
-
Determine and obtain necessary state, federal, and international permits and permissions for collection activities.
-
Work as part of collaborative teams to steward and share the collections.
-
Participate in professional development that benefits the Museum by attending workshops and professional meetings related to collection policies, the physical care of collections, and legal ramifications related
to the collections.
Other ¨C 5%
-
Assist in mentoring staff, interns, and volunteers regarding collection management responsibilities.
-
Serve on a core team of Spencer staff that responds to building and collection emergencies.
-
Remain up to date on professional collection management practices, policies, and procedures.
-
Attend all-staff meetings.
-
Serve on cross-departmental teams and search committees.
?
Application Review Begins
17-Jan-2025.
?
---
Celka Straughn, Ph.D. (she/her)
Deputy Director for Public Practice and Curatorial, and Mellon Director of Academic Programs
Spencer Museum of Art
University of Kansas
straughn@...
+1 785 864 6796
www.spencerart.ku.edu
?
?
?
|
ISO: consultants experienced with friends/advisory boards
I'm looking for names of consultants who have a lot of knowledge and experience with university friends/advisory boards. If you have any suggestions, please send names my way:
jhart@....?
Julie Hart
Sr. Director, Museum Standards & Excellence
American Alliance of Museums
-- Julie Hart,?Senior Director, Museum Standards & Excellence
American Alliance of Museums
jhart@...
?
?
|
Re: Question about Fees for Incoming Image Rights Requests
We are also reviewing our fee schedule for rights and reproductions and would be happy to here from others as well.?
?
Many thanks,
?
Margaret E. Connors McQuade, Ph.D. |?she/her
Director, Collections
Museum of the City of New York
1220 Fifth Avenue
New York, NY 10029
?
W: 917.492.3472
E:
mmcquade@...
?
@MuseumofCityNY
?
?
?
?
toggle quoted message
Show quoted text
From: [email protected] < [email protected]> On Behalf Of
Orlanski, Megan via groups.io
Sent: Monday, January 6, 2025 10:25 AM
To: [email protected]
Subject: [AAMG] Question about Fees for Incoming Image Rights Requests
?
EXTERNAL SENDER - Examine links closely before clicking on them and do not open unexpected attachments
Hi,?
?
I am the Curatorial Assistant at the Lowe Art Museum and Jill Deupi suggested I ask this question to other similar institutions. We have recently
revised our Rights and Reproduction Agreement for those requesting image clearance for works in our permanent collection. The agreement includes a fee schedule as an addendum and?a flat processing fee charged to all institutions whether scholarly, non-profit,
or commercial. We are encountering a situation where a commercial publisher who wants the rights to use four images of works in our collection has stated that our fees are too high and that they cannot afford them. Has this occurred before within your institution
and how have you addressed it??
?
Thanks so much!?
Megan Orlanski
Curatorial Assistant
Lowe Art Museum?| University?of Miami?
305-284-2415
(pronouns: she, her, hers)?
?
|
Join Us in Building a Community-Driven Exhibit on Drug Addiction
Host museums and galleries are being sought for a powerful, community-driven exhibition, ¡°Drug Addiction: Real People, Real Stories,¡± that aims to humanize drug addiction through the power of art and storytelling. Each exhibit is unique to the host state and features 41 people from that state who have died from drug addiction, as told by their families.?
Each exhibition is coordinated by?The INTO LIGHT Project , a national organization with a mission of erasing the stigma of drug addiction¡ª-much in the spirit of the AIDS name quilt. Our goal is to educate the public, foster understanding, and spread messages of compassion and hope throughout your?community. To date, 15 states have hosted "Drug Addiction: Real People, Real Stories" exhibits. These include MD, PA, FL, CA, VA, OH, CO, NC, UT, IA, NH, MA, AL, OK, and DE. You can view past exhibits at?
The project is made possible through generous support from corporate and individual donations, meaning there are no out-of-pocket costs for host institutions. This is a turnkey opportunity. The necessary materials and support to ensure a successful exhibition are provided by The INTO LIGHT Project. Academic museums and galleries are encouraged to use the exhibition as a way of including various educational disciplines in the conversation about drug addiction.?
You can find the full prospectus for the project on our website /?We believe that hosting this exhibit offers a unique opportunity for academic institutions to engage with pressing topics and amplify crucial conversations within their communities.
If you¡¯d like more information or would like to discuss hosting your state's exhibition?please contact Theresa Clower tclower@... or call 302-455-9595.?
Thank you! Theresa Clower
-- Theresa Clower MPA Founder | CEO INTO LIGHT Project Changing the Conversation about Drug AddictionP.O. Box 891
Black Mountain, NC 28711 302-455-9595
501(c)3 Tax ID: 84-2480-644 INTO LIGHT Project &
|
Re: Academic Museum Admission Charge
Hello,
Several people have cited the Colleen Dilenschneider study from 2015. Surely, post Covid and George Floyd, the museum landscape has changed and the study should probably redone. Here is a citing directors' real experiences with charging or not charging fees. The size of the institution certainly has an impact on the decision. See also?.
And this from just before the Covid lockdown in 2020. I'm curious to hear an update on their more recent attendance figures.
Note that some of these institutions remarked on "community resistance" and the perception that they are inaccessible, unwelcoming, elitist, etc. All to say, consider your PR strategy should you decide to institute an admission fee.?
Sure, but the cost of set up will make it a wash on year 1. After that, the decision should be made based on the potential ROI, not gut feelings. How many visitors do you receive a year? How many are not students
(cause I assume students would still enter for free.)
?
Minus your operation cost from your prospective paying visitors and you¡¯ll see it you will make any profit. But frankly, smaller museums can legally use square, paypal or venmo as a POS (Point of Sale), the
setup isn¡¯t that burdensome are fast. Larger museum will need a fancier POS but will also generate much larger audiences. I don¡¯t think it cost that much money to make money.
?
Here is some useful information for small organization (less that 20 visitors per day):
- If you plan on calling the ticket sale a donation:
- Or a as a sale:
?
Most likely, whatever donor management system your university uses (altru, raizer¡¯s edge, etc) also offers a POS systems. That would be recommended for larger audiences requiring more hefty setups. The initial
setup may mean that your first year¡¯s profit is a wash, but you can write a tech setup grant for that cost too, or absorb it.
?
Best,
?
V¨¦ronique C?t¨¦
Galleries Director
?
University Galleries, Florida Atlantic University
777 Glades Road, Boca Raton, FL 33431
Office:??561-297-2661
mobile: 215-779-4371
vcote@...
?
?
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?
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?
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EXTERNAL EMAIL :
Exercise caution when responding, opening links, or opening attachments.
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Ms. Cote:? You forgot one thing, that has already been mentioned by another museum professional.? It costs money to get money.? You have to train & pay staff to collect the money, accounting for the incoming revenue, a person to write grants,
special advertising for free days and focus groups, then there is the negative?PR when you start charging admission (especially if at one time you were free), etc.? Charging an entrance fee is short sighted, and anti-community.? I know there are some states
that show very little - or no support for their museums, and others where there is tremendous?support.? The task is, for those states where there is little support, it is up to the museum professional to educate the 'powers to be' about?the value of museums,
both educationally and culturally.??
Retired Museum Professional & Educator
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Dear Erika, and AAMG museum Community,
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As you evaluate charging an admission fee, I strongly recommend this DATA supported article (and any other similar available through the American
Association of Museums AAM).
?
This will help dispel the idea of free admission and diversity that may cause this gut feeling.
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Spoiler alert: Free admission doesn't affect attendance much...and misunderstanding this engagement tactic may jeopardize industry sustainability.
It is worth looking at this research in your decision making process.
?
Remember: you can always offer discounts and there will be plenty of grant support to special group. You may find that you will have a new fundraising
opportunity in getting corporation to sponsors tickets for certain demographics, days, or exhibitions they care about. In the end, your CEO may be pushing you in a smart financial direction.
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I hope this helps!
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Sincerely,
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V¨¦ronique C?t¨¦
Galleries Director
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University Galleries, Florida Atlantic University
777 Glades Road, Boca Raton, FL 33431
Office:??561-297-2661
mobile: 215-779-4371
vcote@...
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EXTERNAL EMAIL :
Exercise caution when responding, opening links, or opening attachments.
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My name is Erika Witt and I am the Director and Chief Curator of Southern University at New Orleans Museum of Art (SUNOMA).? I was approached today by someone from our Chancellor's
office proposing that the museum start charging an admission fee for the museum.? I am very hesitant about doing so as I do not want to restrict accessibility to the museum.
What are your opinions on academic museum admission fees? Does your museum charge admission?? How was the price determined?
Looking forward to hearing from you!
-- Cheryl K. Snay, Ph.D.
Curator of European and American Art before 1900 Raclin Murphy Museum of Art University of Notre Dame 100 Raclin Murphy Museum of Art Notre Dame, IN 46556-0368
csnay@...Office: 574-631-4724
Main number: 574-631-5466 Fax: 574-631-8501 website:??
*** The Snite Research Center in the Visual Arts is open by appointment only. The?new Raclin Murphy Museum of Art is now open as the gateway to campus. Up-to-date information about hours and events is available on our website?
The Raclin Murphy Museum of Art acknowledges our presence on the traditional land of the Potawatomi peoples, the Miami peoples, and many people from other Indigenous nations that now call this land home. As an initial step towards reconciliation and out of a desire for a brighter and more equitable future, the Museum is committed to amplifying Indigenous voices and building conversation and collaboration through the hosting and support of Indigenous artists, art forms, and communities.
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POLYREAL--call for collaboration to develop design exhibition
This email was sent to
justin@...
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curatorsquared ¡¤ 501 Henkel Circle, Winter Park, FL ¡¤ Winter Park, FL 32789 ¡¤ USA
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Participants sought for STiCH Carbon Calculator User Experience Evaluation
The Foundation for Advancement in Conservation is seeking approximately five people who work with collections in the cultural heritage
field to provide user experience feedback for an updated . Selected participants will receive a $200 stipend, thanks in part to support from a generous grant from the National Endowment for the Humanities.
Participants will participate in a one-on-one Zoom meeting (approximately 1 hour) with the project software developer at a mutually agreed upon time between January 27th and February
7th. During the session, the participant will be asked to complete a number of tasks and may be asked follow-up questions about their decision making. The session will be recorded for internal review. Additional information may be requested via email or a
follow-up meeting (not to exceed one hour) in February. Results will help inform improvements to the calculator and associated tools.
Applicants must work with cultural heritage collections as a collections specialist, registrar, conservator, preparator, shipper, etc. To apply, please complete the brief application
at??before Wednesday, January 15th. Participants will be selected to represent a diverse range of perspectives.
?
?
Tiffani Emig
Deputy Director
(she/her/hers)
?
american institute for conservation
Preserving Cultural Heritage
?
foundation for advancement in conservation
Protecting Cultural Heritage
?
temig@...
(t) 202.750.3346 | (f) 202.452.9545
727 15th St NW | Suite 500 | Washington, DC | 20005
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Re: Museum Studies Examples Request
Anna:
Over the years, the Georgia Southern Museum has worked hard to ensure that while we maintain a strong outreach program to the community, we are also well integrated into the academic program of the University. Some of our successes have been:
1. a standing relationship with the Art Department where each Fall a senior graphic design course divides the students into teams that compete to develop the winning design for the museum's next changing exhibit which is fabricated in the Spring semester. The Museum and its faculty curator serve as the client and provide a budget, content, and direction for the teams. They in turn develop an overall layout and look for the exhibit including ideas for interactives, marketing materials, and related merchandise. We meet half way through the semester to give them feedback on their proposed designs and choose a winning design?at the end of the semester.
2. a unique collaboration between the museum, the Department of History, and the local Convention and Visitors Bureau where I teach an Graduate Introduction to Museums course as part of the MA in History with a concentration in Public History. It is the only course I teach as an adjunct member of the department. Otherwise I am administrative staff. The course introduces students to the history and many functions of museums, especially through the lense of exhibits. The final project of the course is the students to develop and fabricate an exhibit in a 1000 sq foot gallery on local?history at the Convention and Visitors Bureau. The CVB provides the budget for fabrication and the services of a graphic designer.?
3. The museum regularly collaborates with professors across the university who would like to have the museum integrate with their course to have students disseminate their research and learning in that course by developing an exhibit as part of the course objectives. These range from individual case exhibits to larger spaces in the library or a gallery reserved for student projects.
4. Each year we call for proposals from graduate students, primarily in History and Anthropology, and accept one to work with the museum to create an exhibit on their thesis research in a special case in our permanent gallery on cultural history of Georgia's Coastal Plain. This allows us to highlight student research not currently represented in the gallery, and provide them another important dissemination point for their work. Recent exhibits have looked at the preservation of African American cemeteries and the stories of slavery they preserve, the importance of mules in southern agriculture, the Georgia oystering industry and the loss of African American oystermen through government regulation, and an upcoming exhibit on the history of the introduction of Mexican food traditions in Georgia.
Brent
Hello Colleagues,
It feels like the right moment to integrate our museum more deeply into the university's academic offerings, rather than simply operating as a co-curricular resource. To that end, we're collaborating with our Art History department to develop an undergraduate Museum Studies minor.
?
I am seeking ways to incorporate the museum into syllabi without adding to our small team's already full plates.
I¡¯d be enormously grateful for any examples, syllabi, or stories of success¡ªor caution¡ªthat could help guide us in designing this program.
?
Our goal is to make it highly vocational, perhaps including museum staff as guest speakers and utilizing the collection for hypothetical student exhibition curation (since space constraints prevent us from hosting student shows).
Thank you in advance for your insights, examples, and support!
Anna
?
Anna Conlan
Neil C. Trager Director
Samuel Dorsky Museum of Art
SUNY New Paltz
1 Hawk Drive
New Paltz, NY 12561
Tel: 845.257.3847
?
Pronouns: she/her/hers
?
-- Brent W. Tharp, Ph.D.
Director, Georgia Southern University Museum 912-478-5444 /
Pronouns: He/Him/His
Adjunct Assistant Professor, Department of History Board Member - Statesboro Convention and Visitors Bureau?
Vice President - Bulloch County Historical Society?
Accreditation & MAP Peer Reviewer - American Alliance of Museums?
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Call for presenters LibPMC 2025
Call for presenters LibPMC 2025
Proposals submissions are due 14 January 2025
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Apologies for cross-posting and Happy New Year!
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The 16th International Conference on Performance Measurement in Libraries, Museums, and Archives (LibPMC) will take place in Liverpool, UK from 3-4 June 2025.?We are seeking proposals for papers and lightning talks. Information on the conference, including
how to submit proposals, is found at
?
Papers. Proposals should be a maximum of 500 words and include practical or conceptual approaches on any aspect of performance measurement, assessment or user experience research in libraries, museums, archives, or information services. Projects should
be concluded or well underway, and include results, actions arising from results, and potential value to the wider library assessment, user experience, and/or performance measurement community. Time: 25 mins + 5 mins for Q&A.
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Lightning Talks. Proposals should be 250 words and cover a single issue or a single aspect of a project (for example method, use of findings) OR work in progress or a case study at a single library, museum, or archive. We are particularly keen to encourage
sharing assessment efforts that did not go as planned (¡°fail talks¡±), focusing on the lessons learned or ideas for moving forward.
These are dynamic, tightly focused presentations with a maximum of 15 slides. Time: 10 mins + 5 mins for Q&A.
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Paper and lightening talks may focus on aspects of performance?measurement, assessment, or user experience in libraries, museums, archives, and information?services. Topics may include but are not limited to:
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Learning & Teaching
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Space Planning & Use
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Methods (including UX, Analytics, Visualisation)
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Services, Collections and Programmes
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Values, Equality, Diversity, Inclusion
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Library Standards
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Performance indicators & Metrics
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Organisational Culture & Change
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Research & Scholarly Life Cycle
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Staff & Relationships
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Critical & Theoretical Assessment
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We are looking for proposals from practitioners (early career, established, or anywhere in between), from researchers and academics (in library schools, information schools, special libraries, national libraries, consortiums, or other libraries), and from students
(masters or doctoral).
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We want contributors from across the globe, and although the language of the conference is English, we have a strong history of presenters with English as an additional language.
We consider LibPMC to be more than a conference ¨C it is a community, which supports each other in a common endeavour, and comes together every two years to reconnect. The joy and benefits of the opportunity for connection with the community is the most common
feedback we receive. Despite our best efforts for the past 2 conferences, the ability to connect and network online is just not the same as in-person. For this reason, the 2025 conference will be in-person only. All presenters must be registered for the conference
and on site to present.
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What do I need to do?
You need to write a short proposal that follows all the requirements. You will also need to write a very short (maximum 50 word) biography for each proposal author. Sign up to the LibPMC mailing list ()
so you will be alerted for conference updates. The proposal portal is open until 14 January 2025 (
).
We will be offering online support sessions on how to prepare conference abstracts, papers, and presentations. Please keep an eye on LibPMC¡¯s Events page for dates and times:
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Papers and Lightening Talk proposals may benefit from addressing the following questions:
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Why did you do this activity, project, or research?
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How did you do this?
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What did you discover? What are the limitations?
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How have findings been applied? What lessons did you learn? What is the potential value to the wider performance measurement/assessment/user experience library community?
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How do I know if my idea is relevant to LibPMC?
LibPMC?brings together practitioners, researchers, educators, and students. We are interested in ideas on all aspects of performance measurement in libraries, museums, archives, and information services in any sector. Performance measurement (also known as
assessment) is the process of determining and communicating a library¡¯s/archive¡¯s/information service¡¯s value to its organization and community and/or to inform improvement decision-making. It includes work based on quantitative, qualitative, or user experience
methods.
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Additional information about the conference, including links to past proceedings, are available on our website:
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How do I submit my proposal?
Submission is via an online portal provided by Ex Ordo:
The portal is open until 14 January 2025. When you submit, you need to complete the online form, including entering the proposal description and author biography into the relevant boxes.
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All proposals?will be subject to double-blind peer-review and must not have been submitted to another conference or published in a journal.?Reviewers will use a rubric to vet each proposal. The rubric is at the end of this email. Please review and use it to
write your proposals.
Closing?date?for?proposals?is 14 January 2025 at 12 noon GMT. Those submitting proposals will be notified of the decision in April 2023.?
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I need more information about the conference before I decide whether to submit a proposal
Information about the conference is on the website, including costs, benefits, content, in-programme workshops, networking events and how we can support you to get the most out of the in-person conference experience.
?
Warmest wishes,?
?Committee?
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Submission Rubric
Please read the following submission vetting information as you prepare your submission.
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Quality and significance of the contribution to library performance, measurement, assessment or user experience.
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To what degree is the proposal providing perspectives not typically represented in terms of methods or sector?
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To what degree does the proposal confront provocative questions, challenges, issues, and/or learning?
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To what degree is the content innovative, novel, creative, or unique?
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To what degree is the content not represented in other conference offerings (e.g., international origin, new uses of technology, application of techniques belonging to other disciplines)?
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Clarity of Expression
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To what degree is the proposal well written, with a clearly organized structure, and easy to understand?
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To what degree is the proposal specific, detailed, and fully developed?
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To what degree is there sufficient detail to judge the proposal?
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Relevance to the practical or research-based needs and interests of the target audience
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How does the proposal relate to one of the suggested topics listed on the call for papers or another relevant topic?
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To what degree are the assessment or research results completed?
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To what degree is there a description of decisions made or actions taken as a result of the assessment, including suggested changes to the assessment practice?
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What is the potential applicability of methods, results, or lessons learned to other institutions or contexts?
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To what degree does the proposal provide attendees with something that they might be able to use at their home institutions?
?
Terms & Conditions
Papers and Lightning Talks submitted to the Conference must be based upon original work and cannot be published elsewhere nor submitted to a journal or other conference.
Presenters are required to register for and attend the Conference in person.
The Conference Proceedings will be published open access on the Conference website immediately following the Conference.
Accepted Papers and Lightening Talks - A written paper of 3,000¨C5,000 words must be provided for the conference proceedings for accepted papers and lightening talks. To support accessibility of the presentation for neurodiverse attendees, this must be submitted
two weeks before the conference so that we can make the papers accessible in advance online.
When Lightening Talks focus on failed efforts, presenters may choose for it to be included in the Conference Proceedings or not have it included. Authors of outstanding papers and lightening talks may be invited to submit their paper to a special issue of Performance
Measurement and Metrics. If invited the submission needs to be updated or modified so is it substantially different from the conference paper.
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International Conference on Performance Measurement in Libraries
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Re: Museum Studies Examples Request
Hello -
FSU offers the following at the graduate level:
Masters of Arts, Museum and Cultural Heritage Studies
?.
I manage The Ringling Course portion of this degree at The Ringling. Feel free to reach out if you have?any questions.
PhD or an online EdD, Master of Arts, or Graduate Certificate in Museum Education and Visitor-centered Curation
?(fully online)
Museum Studies:
Best,
Jay
Jay Boda, PhD, MFA
Associate Director of Academics, Innovation, + Research
The John and Mable Ringling Museum of Art *
Office: 941.358.2698
jay.boda@... | jjboda@...?
: he/they
Ad Astra Per Aspera
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* The John and Mable Ringling Museum of Art is the official state art museum of Florida. Established as the legacy of John and Mable Ringling, its Mission is to be a place of art, architecture, and
circus that inspires, educates, and entertains. The Ringling's Vision is to be an extraordinary center of art and culture that engages the local, state, and global communities and is accessible to and inclusive of all. The Ringling is under the governance
of Florida State University.?
Please note: Florida has a very broad public records law. Most written communications to or from state officials regarding state business are public records available to the public and media upon request.
Your e-mail communications may be subject to public disclosure.
toggle quoted message
Show quoted text
Hello Colleagues,
It feels like the right moment to integrate our museum more deeply into the university's academic offerings, rather than simply operating as a co-curricular resource. To that end, we're collaborating with our Art History department to develop an undergraduate
Museum Studies minor.
?
I am seeking ways to incorporate the museum into syllabi without adding to our small team's already full plates.
I¡¯d be enormously grateful for any examples, syllabi, or stories of success¡ªor caution¡ªthat could help guide us in designing this program.
?
Our goal is to make it highly vocational, perhaps including museum staff as guest speakers and utilizing the collection for hypothetical student exhibition curation (since space constraints prevent us from hosting student shows).
Thank you in advance for your insights, examples, and support!
Anna
?
Anna Conlan
Neil C. Trager Director
Samuel
Dorsky Museum of Art
SUNY
New Paltz
1
Hawk Drive
New
Paltz, NY 12561
Tel:
845.257.3847
?
Pronouns:
she/her/hers
?
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Lindsay Peyton
