We’re now at the midpoint of the Newport Summer School and by the end of each day, we all share sore feet and stiff backs—except for Richard Guy Wilson, the director of the program. He may be in his 80s, but he has a bottomless reserve of energy.
Participating in the course are a wide range of interests. We have a couple people who lead historic preservation organizations and a couple more who are in graduate school and getting ready to enter the field. We have a handful who work with historic sites, including Edith Wharton’s The Mount, National Park Service, and Lisbon Cathedral. A couple of interior designers and a few who don’t work in the field but love the art and architecture of the 19th century. Ages stretch from early 20s to late 60s.
The diversity of interests and experiences makes for fun conversations and as several noted, can feel comfortable “nerding out” about a preservation issue or an architectural feature. But I’ve also discovered the value of the program—and it varies. Everyone wants to learn about 19th century architecture in Newport, which has an extraordinary collection by some of America’s best architects and interior designers. The combination of illustrated lectures and field sessions allows us to see a lot in a very short time. For graduate students, it creates a foundation of knowledge that will inform their studies and careers. For mid-career professionals, it provides comparisons for our projects and communities, broadening our perspectives. Perhaps more importantly, it also “feeds our soul,” providing a much needed break from the demands of the office while refreshing our passions.
Today we head north to Providence, starting earlier and returning later than usual, so I expect another exhausting day. But it will be worth it.
I’m in Newport, Rhode Island for the Newport Summer School. The Victorian Society in America (an offshoot of the one in London) has been hosting this week-long program for 42 years. Directed by Dr. Richard Guy Wilson, a well-recognized expert in the field of architectural history, it is a mix of lectures and guided tours of significant houses, churches, and civic buildings that are both open to the public and private. In a week, you gain a deep understanding of the history of Newport through architecture—and a network of new colleagues.
Our first day was devoted to the 18th century, considered Newport’s first Golden Age because it brought new wealth to the town and a higher level of architectural design. That wealth came from trade, including enslaved people, a topic that is increasingly being addressed in the interpretation at historic sites and museums.
Indeed, the Rhode Island Black Heritage Society, Newport Historical Society, and the Preservation Society of Newport County are collaborating on exhibitions on the history and contributions of African Americans in the region. Before we officially began the course, Soni Stokes, curator of the exhibition, generously gave me and a small group of colleagues a tour of “Gilded Age Newport in Color” at Rosecliff, one of the mansions owned by the Preservation Society. It discusses the lives of dozens of people and families of African heritage through geography, biography, and topics such as business, entrepreneurship, religion, recreation, and politics. What most impressed me was the variety of documents and objects in the exhibition, most on loan from a private collection, giving me a much more holistic view into the lives of African Americans in New England.
Soni Stokes discussing the role of women. Section on recreation and spot.African heritage neighborhoods in Newport.Introductory label to the exhibition.Equal Rights party ticket, 1888.
ChatGPT-4o created this image in less than a minute.
The highly anticipated release of ChatGPT-4o has once again thrust artificial intelligence (AI) into the spotlight. So how can historic sites and house museums harness the power of ChatGPT to craft thought-provoking mission statements, an essential element of effective management?
The American Alliance of Museums states that excellence requires that, “all aspects of the museum’s operations are integrated and focused on meeting its mission.” And yet, crafting mission statements is among the most difficult tasks for an organization. Writing and revising as a board or staff committee can result in circular arguments, the infinite parsing of words, or resignation to a milk-toast statement that offends no one. So how can you take a mission statement that’s weak or mild and turn it into something stronger and more meaningful?
My typical response is that a small committee of diverse leaders within the organization discuss the purpose and role of the museum in the community, and then appoint one person to draft a mission statement for approval. Although that’s much more effective than writing-by-committee, it can also result in a tremendous commitment of time and frustrations during the review as members defend their ideas. Instead, I’ve found ChatGPT to be much more efficient and less frustrating. You can revise frequently and quickly, try out variants and new ideas easily, and even better, criticize the “robot” and it won’t care.
The mission of The Gamble House is to inspire the public’s appreciation and understanding of architecture as a fine art through the example of The Gamble House, the most complete and best-preserved work of American Arts and Crafts architects Charles and Henry Greene.
Using a simple prompt, “Create a mission statement for the Gamble House in Pasadena, California,” ChatGPT-3’s version was:
Our mission at the Gamble House is to preserve and celebrate the legacy of this iconic American Arts and Crafts masterpiece. As a cultural destination and community resource, we aim to inspire and educate visitors about the significance of the Gamble House’s architecture and design, and its enduring influence on American culture.
The first sentence is the usual celebratory mission statement but notice that the next sentence goes further to explain why it matters today (“its enduring influence on American culture”). That’s a significant improvement that can improve the mission statement’s ability to guide decisions and establish priorities—which is the core function of a mission statement.
Going further, you can use ChatGPT to create mission statements inspired by the ideas of influential thinkers. English designer and writer William Morris inspired the Arts and Crafts Movement, so he’s an ideal choice for the Gamble House. By changing the prompt to, “Create a mission statement for the Gamble House in Pasadena, California in style of William Morris,” the result is:
“Our mission at the Gamble House is to preserve the beauty and integrity of this magnificent home, which is a masterpiece of American craftsmanship and design. Through our efforts to maintain the house and its surroundings in a state of harmony and balance, we seek to embody the principles of the Arts and Crafts movement, which holds that art and beauty should be an integral part of everyday life. By promoting the values of craftsmanship, simplicity, and authenticity, we aim to create a more just and equitable society, one in which the arts and culture are accessible to all, and the beauty of the natural world is cherished and protected.”
Far too long to be a modern mission statement for a museum, it does offer some intriguing ideas, particularly in the last sentence. By mentioning “craftsmanship,” “equitable society,” and “accessible to all,” it addresses values that could be meaningful to modern visitors and supporters of the Gamble House and inspire innovative programming.
In the year that followed, I’ve continued to explore how ChatGPT can help historic sites and house museum improve their mission statements, as well as create a vision and values. Lest anyone think that ChatGPT is a simple mindless hack to the usual hard work of crafting a mission statement, the use of AI requires a thoughtful human hand on the computer keyboard. ChatGPT can be biased, inaccurate, and hallucinate, so you need to know the organization and theories of management strategy. A weak or poor mission statement can harm a nonprofit organization, whether created by humans or AI.
ChatGPT-4o created this image of the Gamble House, demonstrating the need for the human expert—there’s very little that is correct in this image.
Getting Started
If you’re interested in the best explanation and practices of AI and ChatCPT, read Ethan Mollick’s Co-Intelligence: Living and Working with AI (2024) or listen to an interview with him on the HBR IdeaCast, “Tech at Work: What GenAI Means for Companies Right Now.” If you’re interested in practical applications with lots of examples, read AI and the Future of Education (2023) by Priten Shah. AI is being incorporated into an increasing number of applications, including Microsoft Word, Evernote, Notion, and WordPress, but if you want to explore ChatGPT, it is available free with registration at OpenAI.
If you want to use ChatGPT to craft a mission statement, be aware that it relies on the information that is available to it. If your organization has a very small presence on the Internet or in publications (unlike the Gamble House), a simple prompt will be ineffective. You’ll need to take an additional step to provide it with information, such as the museum’s goals, primary audiences, collection strengths, historical background, and what makes it unique or distinctive. If you’re unsure how to do this in ChatGPT, start with the prompt, “I need help writing a mission statement for [your museum name]. Here are the details: [insert information].” You can follow up with additional instructions, such as “”Give me three different mission statement options,” “Can you make this mission statement more engaging for a younger audience?”, or “I like the direction of this mission statement, but can you make it shorter?”
If ChatGPT has helped your organization improve or rethink its mission statement, please share your experiences in the comments.
Ken Turino, Sara Bhatia, and I are currently compiling the index for our book Interpreting Christmas at Museums and Historic Sites, while the other authors are meticulously reviewing the proofs for any final corrections. But we are much more excited to announce that we have a colorful cover featuring images from Old World Wisconsin and Strawbery Banke, and that Rowman and Littlefield have made the 270-page book available for pre-orders at this link.
To get a start on the holidays, join us in July when we’ll be hosting a live AASLH webinar, “Jingle All the Way: Maximizing Your Museum’s Holiday Potential.” Drawing from some of the insights in the book, we’ll discuss how your historic house or history museum can leverage December’s holiday season to enhance community engagement. Mark your calendar for July 23 at 3 p.m. Eastern and secure your spot by registering here for $45 ($25 for AASLH members).
For a preliminary glimpse inside Interpreting Christmas, I’m sharing the proofs for the table of contents and introduction. Just remember, they’re publisher’s proofs so they are subject to change!
The Newport Summer School visiting one of the many historic houses in Newport, Rhode Island. Source: Victorian Society of America.
George Washington University recently awarded me a semester-long sabbatical for fall 2024, which will give me a break from teaching in the museum studies program and allow me to more actively pursue my interests in:
the early history of house museums to better understand their formation and evolution of interpretive practices;
the interpretation of house museums; and
the management of historic sites, especially in strategy and leadership to move performance up to the next level or respond to an ever-changing environment.
For a deep dive into these topics, I’m delighted that I’ve been selected for two prestigious programs:
In June, I will be in Newport, Rhode Island attending the Victorian Society’s Summer School. Over ten days, our class will explore four centuries of American architecture, art, culture, and landscape guided by renowned architectural historian Dr. Richard Guy Wilson. The program will delve into Newport’s rich history, often referred to as the “Queen” of American resorts, and includes exclusive tours of private homes, behind-the-scenes access to America’s grandest mansions, and insightful presentations by leading scholars.
In September, I will be in England for Royal Collection Studies, organized by The Attingham Trust for the Study of Historic Houses and Collections. This ten-day residential course in Windsor provides extraordinary access to one of the world’s leading collections of fine and decorative art, all housed within the grand architecture of the royal palaces. The course combines lectures and tutorials, visits to both occupied and unoccupied palaces in and around London, and close-up object study, aiming to give heritage sector professionals a deeper understanding of this remarkable collection.
If you’re working in a house museum or historic site, these specialized residential mid-career courses are both incredibly educational and refreshing. Participating in the Attingham Summer School in 2008 significantly enriched my scholarship, and fifteen years later I continue to draw upon the principles and practices learned during our site visits and insightful discussions. You’ll find a professional development experience for nearly any interest or length of time, and many offer scholarships. For example, if you’re seeking a course more focused on management, consider the History Leadership Seminar or the SEMC Leadership Institute (it appears that the [Getty] Museum Leadership Institute is no longer operating).
And alas, this schedule also means that my plans for attending the AASLH Annual Meeting in September will be postponed to 2025 in Cincinnati, Ohio. And if I don’t see you there, I hope it’s because you’ll be participating in an incredible professional development opportunity (remember to apply 6-8 months in advance!).
The Bethesda Historical Society, established in 2020 in Maryland, has made a commendable stride by crafting a collections management policy ahead of their growing collection of 400 artifacts and documents. Thanks to a local foundation grant, the Historical Society enlisted Mary van Balgooy from Engaging Places to develop a policy that aligns with professional standards and is manageable by a small organization using PastPerfect.
We’re thrilled to share this policy as a benchmark for small museums and historical societies. It succinctly addresses mission; roles of board, staff, and volunteers; ethical and legal aspects; collection scope, definitions, acquisitions, loans, documentation, appraisals, intellectual property, and policy reviews—all within a concise 15 pages!
Ken Turino and I started on Interpreting Christmas at Museums and Historic Sites three years ago and I’m delighted that it is now in production at Rowman and Littlefield. Our goal is to have the book available for the AASLH annual conference in September 2024, but that’s a very tight deadline, so no promises.
As part of the publication process, two colleagues reviewed the manuscript anonymously (thank you, whoever you are!) and provided lots of helpful suggestions along with the overall evaluation that, “With a superstar group of contributors, the editors have assembled a handy and engaging collection that offers abundant practical advice and interpretive guidance for public historians who are developing and running holiday programs. Museum educators, curators, interpreters, and managers will be thrilled to have such a helpful collection as a reference and guide.”
With the hope for publication in fall 2024, Ken is proposing a session for the NEMA annual meeting in Newport, Rhode Island, and for an AASLH webinar. If the book is out in time for the AASLH annual conference in September, the publisher will host a book signing. We also have a standing invitation for an interview on the NPS blog. If you have other suggestions for regional conferences or other presentations, please let Ken or me know. We are happy to consider any potential sessions or presentations about the book as a whole or a focused topic around research, diverse traditions, planning, and public programming.
The Reimagining the Historic House Museum workshop at the Decorative Arts Center of Ohio in June 2023.
“Reimagining the Historic House Museum,” the one-day workshop co-led by me and Ken Turino (Historic New England) will be held on Friday, April 19, 2024, from 8:30 am to 5:00 pm at Montpelier, a 1780s house museum in Laurel, Maryland (between DC and Baltimore). This workshop is part of the professional development series produced by AASLH. Registration is $325 but it’s $200 for AASLH members (and you receive an additional $50 discount if you register by March 22!). Participation is limited to 35 people.
Our workshop, while inspired by the book Reimagining Historic House Museums (2019), provides a more comprehensive hands-on exploration of house museums’ challenges. We assess current programs using a “double-bottom” line for a holistic view, analyze influencing forces to pinpoint opportunities and hurdles, and spotlight how house museums have successfully reinvented themselves. While the day is rich with information and activities, we ensure a well-deserved lunch break and networking time. You’ll leave with new tools and ideas to enhance your historic site and have an enjoyable experience.
Regular posts by me have been infrequent this year (and even last year!) due to an incredible amount of projects that have come across my desk, as well as travels here in the US and abroad.
Thankfully, Colin Gliniecki has helped with several posts on the financial condition of history organizations, which is part of a bigger personal project on strengthing the financial sustainability of historic sites and house museums. Colin received an MA in Museum Studies from George Washington University four years ago and with his undergraduate degree in business, I’ve relied on his extraordinary skills with Excel to analyze enormous sets of Form 990 data. (If anyone needs a museum data analyst, I’m happy to make an introduction.) We’ve finished the foundational series of posts around revenues and expenses and are now taking a step back to reflect on the work and determine next steps.
So next on the blog are more regular posts from me (weekly?), but they may take a variety of forms such as:
“reports from the field,” where I describe clever ideas from the museums and historic sites I encounter in my travels.
“reports from my garden,” describing what’s happening in my GW courses and commissioned projects.
books that are affecting my thinking about the management and interpretation of historic sites
personal projects (such as the Interpreting Christmas book)
I may be late to the game, but I believe video is the next big format that museums and historic sites need to embrace for interpretation and promotion. I’ve been testing the waters with a few videos, being pushed into the deep end by the pandemic when teaching went online:
The challenge is that video production is sloooooow but I’m determined to master it–and the only way to do it is by doing a lot of it. I’ve produced three in 2020, seven in 2023, so I definitely need to ramp up. Warning: the videos will be rough and drafty this year, so I’ll appreciate comments and suggestions!
It’s been several years since I attended an AASLH annual meeting due to the pandemic and conflicts with my teaching schedule, but I plan to be in Mobile, Alabama in September 2024 (I’m hoping to see the Clotilda–National Geographic called it the best museum that opened in 2023!). Professional conferences are one of the best ways to mentally stand above your daily work and compare what you’re doing with the rest of the field. You can compare experiences, solve problems, share solutions, and be inspired. Plus I can share meals with some of my colleagues (and meet new ones!).
I’ll not only be attending but hope to lead a session or two to support the good work happening at history organizations around the country. It’s a terrific way to work with others to address a hot topic, provide different perspectives on a common issue, and yes, shape the future of the field–so I hope you’ll join me in proposing a session to support your colleagues.
AASLH has moved beyond the traditional three-panelists-and-a-moderator format to include roundtable discussions, in-depth workshops, debates, and a series of quick presentations to allow more variety, so if you have an idea for an educational session, there’s probably an interesting way to present it. I’m having a hard time choosing!
Like most conferences, a committee reviews proposals to assemble the program. Because this is a national conference, they’re looking for sessions that address issues that are affecting history organizations nationally, offer a national perspective on a topic through a geographically diverse session, or relate to the conference theme. Avoid “show and tell” sessions about a program or event that’s unique to your organization and can’t be easily duplicated by others (plus they tend to be really boring self-congratulatory panels). Finally, the attendees want results to justify the time and money they’ve spent at the conference. What will they learn? It’s got to be more than “understand” and “appreciate”–that’s far too vague. By the end of the session, what will they specifically know, what will they be able to do, and how will they feel (e.g., more confident, less confused)?
AASLH is accepting proposals until December 20, 2023. Because proposals are prepared online, it may be difficult to know what information they are seeking, so I’ve attached a one-page summary of the core questions to answer.
Engaging Places 