lisa falk: summer at the smithsonian

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We invited our recent Smithsonian Affiliate interns and visiting professionals to blog about their experiences in our “Summer at the Smithsonian” series. Below, Lisa Falk, Director of Education at Arizona State Museum (Tucson), describes her residency at the Smithsonian. Special thanks to Lisa for this post!

As I crisscrossed the Mall and marched to Smithsonian sites beyond, I clutched my cell phone and lugged my laptop, always mobile and ready for my daily Smithsonian adventure. The Smithsonian is embracing mobile technologies as it strives to serve visitors in their museums and in cyberspace. My Visiting Professional residency provided me the contacts and time to learn about the ways the Smithsonian is engaging visitors through digital means as well as some more low-tech “human” engagements in their halls.

Each week I visited different museums and spoke with my colleagues about their work. Days were filled with talking, observing, and playing. As I texted my way through museum exhibits, playing several digital games and even creating some, I realized that cell phones are more than devices for making calls on; at the Smithsonian they became guides for discovery. With so many excited educators working with content managers and web and mobile developers, many new ways to experience the resources of the museums are being developed and tested. It was exciting to be around so much spark! 

Week One: National Museum of the American Indian, D.C. and NYC. 
In D.C. I learned about their Cultural Interpreter program that has Native educators work with visitors on the floor giving tours, demonstrations, and instruction for hands-on crafts projects (I learned to weave a basket!) among many other exciting initiatives. 

At NMAI in NYC I visited exhibits and spoke with staff about film programming. Arizona State Museum already collaborates on our Native Eyes Film Showcase with NMAI and this gave me the opportunity to learn a bit more about what they do and plan for our next festival. I tested a new text messaging quiz initiative their visitor services manager is offering to attract more Latino visitors to NMAI’s galleries. It has spurred an idea for a text messaging quiz I want to develop in conjunction with a new exhibit opening at ASM this fall. 

Week two: Smithsonian Affiliates Conference and Mobile Media Learning workshops 
During the Affiliations National Conference, I heard and saw a lot! As my focus is digital, the high point for me was playing the Ghosts of a Chance game with my peers. We interacted together in the galleries at the Smithsonian American Art Museum and talked with a developer about how the game was created. We dashed through the halls discovering clues from art works, computer collection information, and even made tin foil sculptures. I think I saw more of the museum in one visit than I ever have before! 

At the Mobile Media workshops, we used Nokia phones to photograph objects and add augmented reality information to them, i.e.: we created short video that added meaning to the objects. It was good to have hands-on time actually trying to create using cell phone technology and to work with other peers as we questioned not only how the technology worked, but how we could use it, and how youth might interact with it. 

Week Three: National Museum of American History 
The high point was talking with Xavier Carnegie, Actor and Trainer for museum theater programs. He spoke about the power of theater to emotionally involve visitors with the history and ideas behind museum objects. Observing him in two different on-floor drama presentations was powerful. 

Week Four: Meetings with digital media strategists and the Smithsonian Folklife Festival 
I hopped around this week, gleaning knowledge from different sources. At the American Art Museum I further explored the digital media text messaging scavenger hunts in the Luce gallery as well as cell phone audio tours, and old-fashioned paper-based treasure hunts. 

At National Museum of Natural History I enjoyed talking with staff about how they approach the use of digital media, particularly with their Facebook page. They see the Facebook page as a very interactive program where they disseminate information, questions, and encourage comments and questions. 

The highlight at NMNH was my meeting with Robert Costello who developed a web comic to go with the Written in Bone exhibit. I’m also trying to develop a web comic so it was great to talk with a colleague who had already done the research on youth use of such a tool and had evaluation notes showing how people were using it (more adults then youth seem to use it!). 

On my last day, in honor of my explorations, I was invited to moderate a panel about digital media at the Smithsonian on one of the stages at the Folklife Festival. Smithsonian staff spoke about how their jobs had changed over time and how they were approaching making their resources available using digital media. The audience expressed interest in access to content and images and applauded their efforts. 

During my residency I was all over the place, but it was a great! The connecting strand was audience involvement with Smithsonian resources and using digital media to engage and reach out. My SI colleagues were inviting, open, and encouraging. Their work is inspiring and has given me many ideas and broadened my understanding of the possibilities and some of the difficulties in creating digital and face-to-face museum interactions! I look forward to sharing what I learned with my ASM colleagues and trying out some of the Smithsonian approaches.

annette shumway: summer at the smithsonian

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We invited our recent Smithsonian Affiliate interns and visiting professionals to blog about their experiences in our “Summer at the Smithsonian” series. Below, Annette Shumway, intern partner from the Frost Art Museum (Miami, FL) shares the story of her summer internship at the National Postal Museum.  Special thanks to Annette for this post!

As a graduate student in the Museum Studies Certificate program at Florida International University I’ve focused much of my research efforts on digitization projects being undertaken by museums and archives.  I am particularly interested in the effective administration and proper usage of current technologies for digital projects and believe that without organization much time and resources could be wasted. I was looking for an internship that would provide a meaningful, sensory experience that would enhance all of the learning that I had acquired, but couldn’t quite find one. When my Museum Studies Coordinator suggested I look into Smithsonian Affiliations Internship Program (our campus museum –The Frost Art Museum- is a Smithsonian Affiliate), I was excited because I would actually be able to execute my own project at the Frost, after I acquired hands-on skills at the Smithsonian.

I was placed with Kate Diggle, Database Administrator at the National Postal Museum (NPM). At NPM digitization of the collection is a high priority.  While at the museum I had the opportunity to work on two different projects involving digitization. 

We worked on one collection consisting of modern philatelic and postal history artifacts which are being transferred from the USPS to the National Postal Museum’s care.  We re-housed, marked, and cataloged all of the objects during the first phase. Next, we created digital records for more than 4000 records down to the item level.   Hard work, but we accomplished our task a month ahead of schedule!  With the help of curators and conservation staff, we identified the items that would be the best candidates for imaging. Some of the artifacts in the collection were larger than the imaging equipment we had in-house, so we couriered these objects to a facility that would be able to handle our imaging needs. It was fascinating to courier the objects and to have access to some of the most state-of-the-art equipment in the field of image capture.  

The second project involved the actual image capture of artifacts for an upcoming exhibit.  These images were added to the museum’s database and will be available online when the exhibit opens. This helps to preserve artifacts like letters from revolutionary war, civil war, and both world wars for future generations of researchers.  Thanks to instruction from the preservations, collections, and web team at NPM, I was able to hone the handling, technical and editing skills necessary for completing projects in digitization field.

Taking part in both of these projects has helped me understand the logistics behind coordinating loans and standards involved in collections’ imaging projects. I feel that much of the experience that I gained through this period will aid in the second portion of my internship at the Frost Art Museum. I look forward to contributing valuable knowledge to the digitization plan and efforts at the Frost.

eric stanley: summer at the smithsonian

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We invited our recent Smithsonian Affiliate interns and visiting professionals to blog about their experiences in our Summer at the Smithsonian series. Below, Eric Stanley, curator of exhibitions and collections at Sonoma County Museum (Santa Rosa, CA), describes his spring residency at the Smithsonian. Special thanks to Eric Stanley for this post. 

Eric meeting with Peter Liebhold and other curators at NMAH to discuss the "Bittersweet Harvest" exhibition

Seeking insights into the process of creating history exhibitions, I spent two weeks in March at the National Museum of American History (NMAH) through the Smithsonian Affiliations Visiting Professionals Program. While I was expecting exposure to a select few elements of the process, it was my great pleasure to be introduced to many facets of creating exhibitions, as well as some other management and collections issues at NMAH. During the course of my program, I met over thirty people at the Smithsonian, mainly at American History, and was able to learn something from each of them. The time I spent with those individuals, each one knowledgeable, enthusiastic, and warmly receptive of my presence, was a tremendous benefit to me and my institution.

Early in my program, I met with Paula Johnson, Curator in the Division of Work and Industry. Our conversation focused mainly on the exhibition On the Water. She shared with me the various stages of exhibition conception and design; fundraising; label writing; artifact selection; which elements were most successful and why; and many other topics. As the Sonoma County Museum moves into the process of creating larger, longer term exhibitions, the exposure to Paula’s approach was useful.

Eric meets with Peter Liebhold and Steve Velasquez at NMAH.

Two particular appointments helped me appreciate the craftsmanship, planning and effort involved in the physical production of exhibition cases, graphics and other components. I met with Omar Wynn, Director of the Office of Exhibits Production at NMAH and toured the museum’s production areas. I also had the opportunity to see Omar and his staff at work in the First Ladies’ gallery in preparation for receiving and installing Michelle Obama’s gown. His outlook on the relationship between his production staff and the curators, and his intense commitment to uphold his standards was thought provoking and inspiring. Similarly, I had the unusual opportunity to tour the Office of Exhibits Central and met with graphic designers, curators, collections managers, and production people associated with the facility.

One of the most relevant and insightful meetings I had was with Nigel Briggs, Exhibit Designer. The core goal of my program was to gain some knowledge of contemporary exhibition design standards and aesthetics, which is a challenging and complex question. History exhibitions throughout the country take a remarkably diverse approach, so defining one standard is nearly impossible. However, Nigel provided me some very practical insights and discussed the “look” of a number of exhibitions and what made them appear dated or contemporary. My only regret was not being able to spend a little more time in conversation with him.

Finally, I had an exceptionally productive meeting with the team who created the Bittersweet Harvest: The Bracero Program, 1942-1964 exhibition.  Since the Sonoma County Museum is taking this SITES exhibition in November, it was an enormous benefit to be able to interact with the people who actually created the exhibition. I had a chance to discuss their approach to the collection and oral histories from former braceros; we are planning to employ a similar approach to collect bracero oral histories locally. We also recently were awarded a SITES grant to support our programming for Bittersweet Harvest.

Eric was presented with a certificate of award from Affiliations Director Harold Closter and NMAH Affiliations Program Manager Rosemary Phillips.

There were other, very productive meetings that I did not mention here. The broad overview that I was provided through my program was an undeniably valuable experience and afforded me an unusual, insider’s glimpse of one of the finest history museums around. I could not have been more pleased with the support and encouragement I received from Smithsonian Affiliations staff and from the Affiliations Program Managers at NMAH. My participation in the Visiting Professionals Program is an experience I will never forget.

Next in the series: Annette Shumway- Affiliations Intern Partner from the Frost Art Museum at Florida International University (Miami, FL).

Shawn Pirelli: summer at the smithsonian

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We invited our recent Smithsonian Affiliate interns and visiting professionals to blog about their experiences in our Summer at the Smithsonian series. Special thanks to our intern partner, Shawn Pirelli, for kicking us off!

Affiliations Intern Partner, Shawn Pirelli, researching at the Archives Center at the American History Museum.

During my designated ten weeks as a Smithsonian Intern Partner I worked closely with the Affiliations unit to create an exhibit that my host institution would like to propose for the Smithsonian’s International Gallery. As a researcher at Plimoth Plantation, in Plymouth, Massachusetts, it was fittingly appropriate that this project focused on the American holiday commonly referred to as Thanksgiving. Thus, for the duration of my time at the Smithsonian I collected materials, searched through archives, met with curators and archivists, and organized my findings. Pending approval by the Smithsonian, the exhibition would tentatively open in the fall 2012.

The prospect of creating an exhibit in the Ripley Center seemed daunting when I arrived at the Smithsonian Institution. As I became more acclimated to my new surroundings in Washington, I began to realize that the Smithsonian faculty and staff were just as excited as I was to discuss the content. With their help, I soon found a gold mine in historical records. The archives figuratively overflowed with objects and documents on so many diverse topics.

Shawn and Affiliations Outreach Manager, Jennifer Brundage, perusing the Archives at American History.

In the archives I found Thanksgiving postcards, Grand Ball invitations, sheet music and gubernatorial proclamations. Additionally, in the collections were preserved pictures of Thanksgiving pageants, dinners, parades, Presidential pardons, and light shows. Altogether I compiled a 350-page inventory list of materials, documents and images found in the archival collections. This list has helped me envision the exhibit in a three-dimensional computerized format.

In September 2010, I will return to the University of New Hampshire where I am currently a graduate student of history. While taking classes, I will be able to work with some of the most revered historians in the academic field; many have already helped me explore several diverse possibilities for this project.

Furthermore, I will also be returning to Plimoth Plantation to work more closely with its staff, curators, and administrators. At Plimoth Plantation, the project will take its shape under the supervision of Richard Pickering, Deputy Director. Under his supervision, the materials I found at the Smithsonian can be requested for loan in the International Gallery.

Smithsonian American Art Museum Graphic Arts Storage study room.

With the Smithsonian Affiliations program I will be able to see the fruits of my work at the most respected institution in the world. It is through this partnership with the Smithsonian Institution, Plimoth Plantation, and the University of New Hampshire that this project is possible. Each entity brings an unrivaled dynamic to this project. The resulting exhibit will be a reflection of all the wonderful assistance the Affiliations program offered me during my summer in Washington. 

Next in the series: Eric Stanley, Smithsonian Affiliations Visiting Professional from Sonoma County Museum in Santa Rosa, California.

Goodbye Texas. Hello New York! The 10,000 Springs Pavilion is on the move

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Special thanks to Smithsonian Museum Conservation Institute Conservator Don Williams for this guest post.

Two weeks ago found me in Irving, Texas, along with Groopsters Bob Klein and Bill Ferguson from the Professional Refinisher’s Group (aka “Groop”), dismantling the Ten Thousand Springs Pavilion at Smithsonian Affiliate, Irving Arts Center.  We’re packing it for travel to its next temporary home in Flushing, NY, at Affiliate, Flushing Town Hall. Thus far Groop members have donated over 75 man-days toward the installation and de-installation of the exhibit, which could not be accomplished otherwise. Here’s a peek at the de-installation:

The setting for the Ten Thousand Springs Pavilion in the lobby of the Irving Arts Center was truly spectacular, exposing the magnificent artifact to tens of thousands of patrons.

Bill (l) and Bob (r) were real troopers. This was Bill's second rodeo with me, and Bob's fifth(!).

We were joined in our endeavor by the skilled and burly crew for the Irving Arts Center when it came time to handle the really heavy and awkward stuff.

The building crew for the Irving Arts Center was an amazingly helpful and professional group. The gigantic roof portions had to be hand carried a few hundred feet through the building to get reunited with the crates.

Not too surprisingly, it comes apart much faster than it goes together.

A place for everything, and everything in its place.

Bill got the honors this time of removing the impossibly ornate carved finial.

All packed up with somewhere to go.

 The project went smoothly and quickly.  I had allotted three full days of work, but we were done by late  afternoon of day two. It was truly a delight to spend productive time with these two Groop brothers and the fellowship it entailed.

Next stop is Flushing, New York, where the local logistics will require a sunrise Sunday beginning.  The exhibit will open October 16, 2010.

About the Ten Thousand Springs Pavilion
The structure is a 1 to 5 model of the celebrated and intricate classic Chinese pavilion that stands within the Forbidden City in the heart of Beijing. The model of the pavilion was gifted to the Smithsonian by Dr. Chan Laiwa and the China Red Sandalwood Museum in Beijing. Dr. Chan founded the museum to preserve and perpetuate the ancient Chinese art of red sandalwood carving.

Made by Chinese artisans using traditional Chinese carving and fine furniture techniques, the model captures the beauty of the original pavilion, and is an outstanding example of traditional Chinese carving. Artisans at the China Red Sandalwood Museum constructed this model of red sandalwood, treasured for its dark glossy color and musty floral fragrance. No nails are used; the entire structure is put together with mortise-and-tenon joinery. Currently, nearly 60 percent of red sandalwood carvers are women. Red sandalwood was highly prized in imperial China, and was used to create intricately carved furniture and decorative objects. Because of the demand for this wood, the tree nearly disappeared in China – along with the art of carving it.

The Ten Thousand Springs Pavilion is one of the 20 or so structures that are part of the private pleasure grounds for two dynasties of Chinese emperors. The Imperial Garden of the Forbidden City was a retreat for the emperor and his family allowing quiet contemplation of nature and communion with the spiritual world. 

smithsonian jazz comes to omaha

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Thanks to the Durham Museum’s distance learning coordinator Mike Irwin for this guest post.  

Smithsonian Jazz Masterworks Orchestra performing at the Durham Museum.

Smithsonian Jazz Masterworks Orchestra performing at the Durham Museum.

It was late afternoon and the current visitors at the Durham Museum began to filter out, replaced by Jazz enthusiasts of all ages ready for a concert to remember. They were here to be entertained (and educated) by the Smithsonian Jazz Masterworks Orchestra (SJMO).  They certainly got what they came for!

Jazz at the Durham Museum in Omaha Nebraska? Three years ago the Durham began celebrating Jazz Appreciation Month and the interest from the community has been tremendous. Mick Hale, director of education at the Durham stated, “As a proud Affiliate of the Smithsonian we are always looking for ways to expand our relationship with the Smithsonian and to provide our community with access to great programs such as the jazz appreciation program provided by the SJMO. ”

Durham Museum's Executive Director Christi Jannsen with SJMO's Artistic and Musical Director David Baker

Durham Museum's Executive Director Christi Janssen with SJMO's Artistic and Musical Director Dr. David N. Baker

The community offering began with an evening performance at the Holland Performing Arts Center by the Smithsonian Jazz Masterworks Orchestra.  The evening opened with a special lecture by Dr. David N. Baker, the orchestra’s artistic and musical director, followed by a big band jazz performance.

The two-day “on-site” schedule was extensive, taking the SJMO to schools around the Omaha area for two and a half hour workshops connecting with over 400 students from eight high schools, two junior highs, and two colleges.

Dr. David Baker warming-up the crowd at the Durham Museum.

Dr. David N. Baker warming-up the crowd at the Durham Museum.

SJMO unpacked and set up for their final public performance at the Durham Museum’s Stanley and Dorothy Truhlsen Lecture Hall.  The setting for the performance couldn’t have been more appropriate. The Durham Museum, formally a grand train station, was built in 1931 with a strong Art Deco influence. Thousands of passengers passed though the doors each day during the station’s operation.  Today when you walk through the Great Hall you can almost hear a Count Basie or Duke Ellington melody. When all were seated and the lights went down, Dr. Baker began the evening with an engaging brief history of Jazz highlighting the great musicians and their contribution to this American musical phenomena. His low-key, humorous overview put the mid-western audience at ease and ready for a great jazz performance.

SJMO alto saxophonist Scott Silbert ‘s narration sprinkled between songs citing little know facts and tips on what to add to your jazz collection only added to the overall interest in the musical selection of iconic jazz tunes.

As one participant commented in an e-mail about the night, “Needless to say a fun time was had by all…and everyone was tapping their feet to the music all evening.  I’m still tapping my feet this morning!”

SJMO performing for guests at the Durham Museum.

SJMO performing for guests at the Durham Museum.