GW’s Museum Management class in the midst of a whirlwind tour of the Smithsonian on a hot and humid day in Washington, DC.
As I enter my second semester as a full-time faculty member in the Museum Studies Program at George Washington University, I’ve adopted a “flipped classroom” format and am fully integrating theory with real-life experiences. It’s been an incredible amount of work to revise my syllabi this summer, but so far, the students seem to be learning and enjoying their classes more (we’ll see how the evaluations look at the end of the semester!).
In my museum management class, students will complete an abridged version of a MAP Organizational Assessment for a museum, relying on information available from the website, newspaper articles, IRS Form 990, and the AAM Standards. I assigned the museums based on a random selection to represent the diversity of museums in the United States. We work through the Standards and as we discuss each topic in class, such as governance or collections, we’ll talk about how their particular museum has approached it. This week we’ll be discussing mission so they’ll be evaluating the mission statements for the 25 museums we’re examining in class to determine a set of criteria and identify model mission statements.
New this semester is my course on project management in museums. Our core readings are: Continue reading →
Exhibition hall at IGU/NCGE/CGA meeting in Quebec, August 2018.
I’ve just returned from Quebec where I attended an international geography conference that was a combination of the annual meeting of the Canadian Association of Geographers (CAG), the annual conference of the National Council for Geographic Education (NCGE), and the regional conference for the International Geography Union (IGU). Despite the combination of organizations, I’d guess it would be comparable to a regional museum association meeting of about 500 people with the usual sessions, plenary speakers, and exhibition hall.
The big difference from museum and history conferences is that the geography associations seem to accept all presentation proposals. Each presentation is assigned a 15-minute slot in a 60 to 90-minute session according to their committees or study groups (e.g., health care, tourism, indigenous peoples, islands). Presenters in the same session usually have not met each other and there’s no moderator, so it’s just one presentation after another with no introductions or transitions. The result is that a session can be a mixed bag, so a session on “teaching geographic content” included Continue reading →
Because I have a successful consulting practice, friends and colleagues occasionally ask for guidance on starting their own business. Working for yourself is thrilling, which can be both joyous and scary. We can all imagine that running your own business is very different than being an employee, and that consulting is much more than being paid for your advice.
We are witnessing a growth in the number of freelancers in the United States, both in response to the 2008 economic downturn but also to meet the demand of businesses and organizations who are looking to build capacity without the ongoing cost of more staff (which is typically the largest expense in a nonprofit organization). Free Agent Nation by Daniel Pink (2001) is a helpful introduction to the major changes occurring in the workplace and will help you decide if freelancing suitable for you (it’s not for everyone).
My best advice to those who are contemplating the move to independence is: Continue reading →
I didn’t realize it at the time, but twenty years ago I began working with interpretive themes when I was refreshing the tours at the Homestead Museum in California. The tours were organized and based on recent research, however, they seemed to lack cohesiveness and structure. Armed with a freshly minted M.A. in history, I applied the idea of a thesis to the tour. It wasn’t until I was introduced to Great Tours by Barbara Levy, Sandra Lloyd, and Susan Schreiber and worked on the interpretive plan for President Lincoln’s Cottage that I developed a much better understanding of how to develop interpretive themes.
Unlike topics, which are simply subjects like colonial life or the Civil War, themes are a complete idea with a message. I often explain them with an analogy to music, where topics are notes and themes are melodies. Since then I’ve been on the hunt for excellent themes, ones that provide a memorable, hummable melody for historic sites that stays with people long after they’ve visited (like the song in the Disneyland ride, “It’s a Small World”). In the years that followed, I’ve treated it like fine art: I’ll know it when I see it.
TED Talks has spawned the renewal of lectures as an engaging form of education (who would have guessed?) and many universities and organizations are regularly sharing lectures from their public programs, staff workshops, and student courses online with the public. They’re also a great resource for house museums and historic sites, who can use them for professional development and staff training, or to check out a potential speaker for a special event. They might even inspire museums to record their own events and share them online. Here are a couple programs that caught my eye: Continue reading →
This blog shares lots of the intriguing ideas that I encounter at house museums and historic sites in my travels, and often they’re best explained through video. How else can you really understand how a hands-on activity works or how visitors behave during a tour? I’ve shared plenty of videos created by others but this past year I’ve been learning how to create my own videos for the museum field, using my ever-present iPhone to shoot video snippets, mastering ScreenFlow, and studying how others create videos on YouTube (e.g., Peter McKinnon, Curtis Judd, DottoTech, and Video Creators). Now my efforts have been nudged along by the classes I’ve started to teach this year at George Washington University where I’m incorporating “flipped learning” approaches to move some of my lectures online to devote as much time in the classroom to group discussions and activities.
I shared one of my initial forays into video creation several months ago on a cool interactive technique from a traveling exhibition at the Indiana State Museum and this week I’m posting two more videos which are a bit more complex. I’m hoping my videos will improve over time but I do want to maintain their “hand-crafted” nature so they stays personal (in other words, the quality should get better but don’t expect “high production values”).
I created today’s video for my museum studies classes to help students find the Form 990, Continue reading →
The revised standards more fully develop topics in the previous editions, address the treatment of buildings of the last half of the twentieth century (which introduced new materials and systems, such as composites and curtain walls), include building code-required work, and eliminated energy efficiency (which is now addressed in 2011 in the Guidelines on Sustainability for Rehabilitating Historic Buildings). The Standards provide guidance for the maintenance, care, or remodeling that might occur through an illustrated set of recommended or discouraged practices easily understood by architects, contractors, staff, and board members. A big thanks to NPS and Anne Grimmer for providing these new guidelines. They’re free online and every house museum in America should adopt these Standards to help preserve and maintain their buildings and structures.
The Standards are designed to guide work on buildings listed on the National Register of Historic Places, but I’ve used them Continue reading →
Your purchases support the operation and expansion of The History List, which helps attract new visitors and members to historic sites and history organizations across the country. This is all provided free by Lee Wright, who started The History List back in 2011 to get more people engaged with history and historic preservation by connecting them to the thousands of local history organizations and historic sites across the country.
The latest edition of the Encyclopedia of Local History just arrived with a thud on my doorstep. Weighing nearly three pounds and two inches think, it’s a small beast. I served on the advisory board, suggested writers, and contributed entries and photographs, but didn’t realize what a hefty book it would become until a copy arrived at my door. At 800 pages, the third edition added another 150 pages to the second edition of 2013, so if this keeps up, the fourth edition will need a handle.
Edited by Amy Wilson, the Encyclopedia is a wide-ranging assortment of definitions, topics, organizations, primary sources, historical approaches, and individual state histories, along with appendices on studying various ethnic groups and religion, and contact information for state historical societies and National Archives facilities. Certainly it’s a reference tool for “local history” jargon that you might be able to find online (what is “historical thinking” or “repatriation” or “Soundex”?) but it also contains mini-articles on provocative subjects (such as “Building Bridges through Local History” by George McDaniel, “Local Historical Societies and Core Purpose” by Anne Ackerson, or “Museums and Families” by Linda Norris). The contributors are among the best people in our field, so the information is solid. You’ll not only want to use it to look up a term occasionally but to let it open to a random page to explore the many aspects of local history (Cyndi’s list? fakelore? social purity? Tweedsmuir History Prize?).
At $145, it’s not a book everyone can afford, but it would be great addition to a reference library of a historical society or local public library.
President-elect Trump continues to demonstrate that he doesn’t plan to govern like his predecessors, having recently nominated department heads who are at odds with the mission of their departments. What does that mean for theInstitute of Museum and Library Services (IMLS), whose Director and its National Museum and Library Services Board are appointed by the President and whose authorization and funding are approved by the President? Most house museums and historic sites know IMLS for its grant programs (e.g., Museums for America) but they also conduct research on the state of the museum field (e.g., museum database); tackle national issues that are important to museums (e.g, preservation of collection, digital platforms); and fund the Museum Assessment Program (managed by the American Alliance of Museums) and Collections Assessment for Preservation Program (managed by the Foundation of the American Institute for Conservation of Historic and Artistic Works).
September 11 Memorial Museum visits by President Obama in 2014 and Presidential candidate Trump in 2016. Note the differences in how the groups are moving through the museum.
At this point, it seems President Trump will have little interest in museums or libraries, which could be good or bad, depending on Continue reading →