The WMA 2014 Scholarship Fund Needs You!

The Western Museums Association (WMA) supports museum professionals around the Western region (and beyond!). One way we strengthen the field is providing scholarships, a vital component of WMA’s mission, and we need your help! The Wanda Chin Scholarship program funds participation and travel to the Annual Meeting by professionals who might otherwise not be able to attend. Support learning and professional growth by donating an item to the Wanda Chin Scholarship Fund auction.

Thank you to those that donated auction items at WMA 2013. Your generosity allowed us to provide 14 scholarships to attend WMA 2014 in Las Vegas. Here are the 2014 Wanda Chin Scholarship recipients who you have helped:

Congrats to the recipients of the 2014 Wanda Chin Scholarship!
Katharine Baldwin-Corriveau, John F. Kennedy University
Alexa Beaman, University of San Francisco
Molly Fierer-Donaldson, Lost City Museum
Tim Glenn, The John Wesley Powell River History Museum
Shannon Kraichy, University of British Columbia
Crystal Mason, Hi-Desert Nature Museum
Barbara Mumby, John F. Kennedy University
Leilani Lewis, Northwest African American Museum
Rachel Luni, Wilbur D. May Museum
Ryan Pinter, University of San Francisco
Cho Rao, University of San Francisco
Eleanor Sandys, John F. Kennedy University
Molly Wilmoth, Washington State Historical Society
Katherine Yee, San Diego Museum of Man

Since 1997, the WMA Annual Meeting has featured a Silent Auction in the Exhibit Hall, as well as a spirited Live Auction during an Evening Event. The proceeds from these auctions directly fund the Wanda Chin Scholarship program, which helps to subsidize travel and participation in the Annual Meeting for professionals who might otherwise not be able to attend.

2013 Wanda Chin Scholarship recipients

2013 Wanda Chin Scholarship recipients

Below are suggestions for contributions that work well for the WMA Silent and Live auction purposes. Please read through these ideas and get inspired, and do not be afraid to ask colleagues, gift shops, favorite merchants, or friends to donate to these fun events.

  • Items representing Las Vegas or San Jose (the location of the 2014 and 2015 Annual Meetings, respectively) generate enthusiasm for the host-city, and give incentive to extend stays to include visits to the area’s resorts, restaurants, and tourist destinations.
  • Items that highlight a specific locale can help frame auction items. In the past we have received items from: a wine-growing region provides opportunities for wine tastings, cases of wine, tours of several wineries; a ski area donates passes to a ski lodge, overnight accommodations, lift tickets; Native American tribes have donated hotel and recreational packages.
  • Members of all regions are encouraged to consider offering vacation homes.
  • Museums’ gift shop items have also shown good results at the auctions, often with jewelry or other decorative items.
  • Museums are encouraged to consider offering behind-the-scenes tours, a tour of collections with the registrar or collections manager, a tour with the curator of a special exhibition, or a meal in the museum’s café.
  • Consultants can offer to extend their services to a museum for a day or specified period, or could reduce their fees if hired for given period.
  • Donations of frequent flier miles are a great compliment a vacation package, add value, and give incentive to bid.
  • Museum exhibition catalogs and memberships are great donation items for the auction.
  • Theme baskets are great donations for the Silent Auction. They can showcase a particular museum with items from its gift shop, or can have other focuses such as regional wines, foods, crafts, arts, flora or fauna, special toiletries, or children.
  • Art and collectibles from private collections is often attractive to bidders.
  • The best auction items are generally experiences and opportunities that cannot be purchased, are not commonly available, and are truly “priceless.” These types of items allow auctioneers to generate enthusiasm for, and bring in high returns from bidders.

Personal connections to shop owners, resort managers, vintners, etc. are invaluable when soliciting successful donations. However, even with an existing relationship, the solicitation may require a formal Letter of Request to the potential donor that explains the mission of the WMA and how the revenue from the sale of the item will be used. Please note that donations are tax deductible. Many establishments also require several weeks of advance notice with a formal appeal to process the request.

Please consider donating to this special cause. The WMA relies on you, its friends, fans, family and followers, to make attendance to the Annual Meetings available for all museum professionals.

If you are interested in donating, please contact Program Coordinator Lauren Valone.

Donation forms can be found here.

Program Perspectives: Building the Soul of Las Vegas

Dear Colleagues,

Dawn Barraclough

Dawn Barraclough

It is no secret that Las Vegas has experienced some pretty extreme growing pains. The population exploded from 45,000 to 2 million in an unprecedented rate of growth over the last 60 years. Since the economic slowdown in 2008, the population has been holding steady bringing Las Vegas out of an infancy fueled by the motto bigger, newer, faster to a more contemplative, adolescent phase. The prosperity experienced in the early 2000′s prompted the beginning of a cultural renaissance in Las Vegas as buildings were built and institutions established. Locals and visitors wanted to know how did all of this come about, how did this oasis in the desert affectionately known as sin city come to be a traveler’s mecca drawing 40 million tourists every year? Then in 2008 the growth stopped, abruptly, everywhere, and survival became the focus. As the economic recovery has since taken hold in Las Vegas, the city is re-engaging with the cultural renaissance that started more than ten years ago and is flourishing once again.

As an urban dweller I have been fortunate to live in some of the most beautiful cities in the U.S.—Denver, Washington D.C. and San Francisco—each with a very developed, traditional, cultural climate and immediately discernable sense of place. The landscapes, architecture and museums in these cities almost instantly provide a feeling of the “soul” of each city and connection to the people who came before. Here in Las Vegas you are hard pressed to find a building over 50 years old, the landscape is an unyielding desert and until very recently, unless you knew where to look, finding a museum to learn about this place was difficult at best. In a town dedicated to the latest and the greatest in excess and indulgence, constantly evolving to meet the needs of visitors here for only a short while, how do we find the soul of this bright light and, now, big city?

Fremont Street, 1950s — Cliff Segerbloom, Nevada State Museum, Las VegasJay Florian Mitchell Collection

Fremont Street, 1950s — Cliff Segerbloom; Nevada State Museum, Las Vegas, Jay Florian Mitchell Collection

Although I was skeptical upon first arriving in Las Vegas over 10 years ago that I could find a sense of “soul” here, I have grown to love this desert city. In addition to and beyond the bright, flashy, fast paced Strip that is quintessential Vegas, I have found all the elements that can create the soul of a place for current and future generations exist. Make no mistake—this is not a city for the meek; grit, determination and perhaps a little bit of luck are requirements for survival here. From the harsh desert summers to the accessibility of just about any indulgence you can imagine 24/7, Las Vegas has been fashioned to fulfill every human whim, regardless of the consequences. However, we have a great opportunity at this point in Las Vegas’ development to tell the story; the good, the bad and the ugly of our strange and fantastic history. We can learn about Las Vegas architecture through the preserved signs at the Neon Museum. The Mob Museum shows us how the wise guys and peacekeepers of the past shaped and perhaps still continue to influence our present. We can learn all about water and natural resources in the Mojave, and early settlers at the Springs Preserve. At the museums on the University of Nevada Las Vegas (UNLV) campus we can see how this unique city is shaping the artists of the future. The National Atomic Testing Museum chronicles the historic desert test site, the popular (possible) mythology of aliens, and reveals that even nuclear testing was turned into entertainment here. And we have our own museum celebrity Mark Hall-Patton, keynote speaker for the upcoming WMA 2014 Annual Meeting, longtime Las Vegas history expert, and national television personality who’s recognition has greatly increased visitation for his three museums.

I am so grateful for the interactions I’ve had with the museum professionals I’ve met locally, statewide and regionally, and have been privileged to work with over the past few years. I am new to this; my background prior to working at the Springs Preserve was in the technology industry, and although I’ve always loved museums I couldn’t until recently put into words why I am so passionate about helping with the cause of culture in Las Vegas. We have to know where we’ve come from to help to steer our future. Cultural institutions ensure that new generations of Las Vegas residents feel connected to and will preserve their desert home. Las Vegas will survive for the tourists but for the people who live here a cultural experience is the key to experiencing the soul of this place, while having connections, community, and ultimately a fulfilling life.

The recharged cultural movement in Las Vegas, exploring the many facets of the story of how this city came to be and what it is today, is fueled by storytellers from many diverse cultural institutions who have joined forces. The Las Vegas Museum Alliance (LVMA) founded in 2013 was the direct result of non-profit cultural institutions, museums and nature centers in Las Vegas coming together to put in a bid to host the Western Museum Association (WMA) 2014 Annual Meeting. As LVMA prepares for the WMA meeting in October we are also working together as a cohesive self-help organization, pooling our resources and sharing our experiences.

LVMA_LogoThe LVMA membership is varied and eclectic; the 27 member institutions of the LVMA have joined forces creatively rising to the challenge of making the voice of culture heard in a very competitive and saturated marketing arena. Since forming the Alliance, brochures containing information about all of the institutions in two formats have been distributed throughout the city and region. A website was created—www.vegasmuseums.org—as a central portal to member museum’s individual websites and as an online resource for specials, events and activities throughout Las Vegas. A Facebook page and twitter account for LVMA are in the works. We are getting the word out with the help of community partners such as CBS affiliate KLAS-TV Channel 8′s “GR8 Museums” promotional campaign for locals in 2014, and the Las Vegas Convention and Visitors Authority is gearing up to launch their first “Las Vegas Museum Month” in October 2014, exposing the cultural opportunities in Las Vegas to tourists on a national level.

There is a pioneering tenacity and deep generosity of the people in the LVMA and community partners who dedicate their time, energy and expertise to exposing the soul of this unusual city and it is an honor to be included in this quest. We are excited to be hosting the WMA 2014 Annual Meeting in Las Vegas and hope you will take full advantage of all our home has to offer. Enjoy the unexpected as well as the expected!

The deadline for Member Early Bird Registration is July 31, 2014. Register today and save! Non-members can still save on registration by becoming a member. Learn more about membership here.

Dawn Barraclough
Public Relations
Springs Preserve
WMA 2014 Host Committee Member

Member Spotlight: The Lost City Museum

The Lost City consists of a series of archaeological sites that run for 25 miles along the Muddy River Valley near the town of Overton in the Moapa Valley of Southern Nevada. In 1924, brothers John and Fay Perkins from Overton, informed Nevada Governor James Scrugham of the Native American ruins. Governor Scrugham then enlisted the help of archaeologist M. R. Harrington who was at that time associated with the Museum of the American Indian in New York City. Harrington verified the importance of the archaeological sites, and named them Pueblo Grande de Nevada, the grand city of Nevada. He recognized the artifacts as belonging to the Anasazi (now called Ancestral Puebloan) civilizations that had flourished in the American Southwest for over 2000 years. He began excavations on the site in 1924 and continued off and on until 1938.

Fay Perkins, approximately 1940.

Fay Perkins, approximately 1940.

The name Lost City was given the area in the mid-1920s by the press. Pueblos were constructed and a train brought people to view a pageant with Native dancers and actors.

Union Pacific advertisement for the Lost City.

Union Pacific advertisement for the Lost City.

During the 1930’s, the waters of Lake Mead rose as a result of the construction of the Boulder Dam (now Hoover Dam). Under the direction of Harrington, the Civilian Conservation Corps (CCC) worked to excavate the sites and ultimately protect the Ancestral Puebloan artifacts. In 1935, CCC workers built the Boulder Dam Park Museum (now the Lost City Museum) for the National Park Service to house the artifacts that were being recovered from the excavations. The building is now on the National Register of Historical Places.

The Boulder City Museum (as it was known before the Lost City Musuem) being built, circa 1935.

The Boulder City Museum (as it was known before the Lost City Musuem) being built, circa 1935.

 

The Lost City Museum, present day.

The Lost City Museum, present day.

The Lost City Museum has since been under the direction of multiple organizations. During World War II, the National Park Service used the Museum building as its Overton headquarters, keeping the Museum open to the public for a few hours each day. During the early 1950’s, Clark County provided funds for a caretaker to run the Museum. In 1953, the National Park Service turned the Museum over to the State of Nevada and removed their nationally owned artifacts. Private collectors loaned artifacts to the State to fill the Museum. It was not until 1955 that the Museum was officially funded through the Nevada State Department of Buildings and Grounds and was renamed the Lost City Museum.

Pueblos behind the Lost City Museum.

Pueblos behind the Lost City Museum.

In 1973 and 1981, new galleries were constructed with funds appropriated by the Nevada Legislature. In 1971 and 1973 additional funds were appropriated to purchase the loaned artifacts. The Museum became one of the seven museums managed by the Division of Museums and History Division of the Department of Cultural Affairs of the State of Nevada in 1979.

A model of Pueblos.

A model of Pueblos.

The Museum is constructed on this historical excavation site. The walls of the 1981 gallery were built around the foundation of a Pueblo complex, thus protecting it and making it one of the displays. Visitors today will also see a recently updated exhibit that tells the story of the the excavations; information about the geologic and cultural history of the area; a special exhibit with an overview of the last 150 years of Nevada history celebrating Nevada’s Sesquicentennial; and a display that changes monthly of the works of one or more local artists. In addition to the three exhibit galleries, there is a small orientation theater; a research library; a museum store; outdoor archaeological and historic exhibits, including reproduction pueblos; and a picnic/barbeque area. Every year the Lost City Museum hosts a variety of children’s activities, Native American Day, a special Christmas Open House, and other programs and activities.

A pithouse in front of the Museum.

A pithouse in front of the Museum.

Visit the Lost City Museum, as well as Michael Heizer’s landmark piece Double Negative and Valley of Fire during a pre-conference tour at WMA 2014! Learn more here.

Program Perspectives: An Interview with Mark Hall Patton

By Lauren Valone

Mark Hall-Patton

Mark Hall-Patton

With his more than 35 years of experience in the museum field, Mark Hall-Patton will certainly have stories to share during his Keynote Address at the Western Museums Association (WMA) 2014 Annual Meeting. In addition to 14 years as a Board member of the Nevada Museums Association where he served as President from 2000–2002 and 2008–2010, he has also served on the California Association of Museums and WMA boards. Mark is regularly seen on the History Channel’s Pawn Stars as a visiting expert. He has also appeared on American Restoration and Mysteries at the Museum.

In this brief interview, Mark gives readers a taste of Las Vegas and Southern Nevada.

How are Las Vegas’s and Southern Nevada’s culture and museums unique?

Las Vegas and Southern Nevada have a unique history, which is presented in the museums here. Given a history, which includes unique foci, including Atomic Testing, Gaming, and a water table that brought settlers, the railroad, and eventually a large community, our museums tell this fascinating story. We Las Vegan museum professionals have to tell the story with a backdrop of massive advertising for alternatives to what we offer. We also have to realize that we do not have the resources to outshine the glitz and glamour of the strip, and must focus on our core stories to bring our visitors to the museums. One other point to make is that visitors to Las Vegas are normally not coming for a museum experience, so we have to recognize that when we reach out to them.

 

Many museums rely on tourism in addition to their local community. How does the Clark County Museum System approach both types of visitors?

The Clark County Museum uses every avenue possible to get the word out about the Museum. As we do not have an advertising budget, it is not possible to take out ads, so we are active in speaking to local groups. We also have the media access which comes from my being on Pawn Stars, and that drives both tourists and locals to the museum. We actively work with the Clark County School District to bring in school tours, and seek out any free source of advertising, including an active Facebook page and working with our Clark County Museum Guild supporters through their social media efforts. In terms of tourists, much of that is now driven by Pawn Stars who come in from 151 countries to visit and meet people from the show, including the museum administrator.

 

The Clark County Museum System consists of a 30-acre site covering pre-historic to modern times, and a collection of restored historic buildings in Las Vegas, Boulder City, Henderson and Goldfield. You are also the administrator for the Howard W. Cannon Aviation Museum and the Searchlight History Museum. What are some of your lessons learned when telling such an expansive story?

The stories often overlap and intersect, and we can use these intersections as a way to cross-pollinate between museums. We can interest visitors who arrive by air in the history of Clark County through the Aviation Museum, which can bring people to the County Museum, and if there, we can be sure they are aware of the Searchlight Museum. I also find that you have to bring the stories down to the personal level, using the story of a family or a house like the Henderson Townsite House to make accessible the greater story of World War II and its impact on Southern Nevada.

 

You have extensive experience consulting start-up museums, have served on association boards, and were even a past board member of the WMA. What advice do you have about developing strategic plans for museums?

I think it is necessary to be realistic in planning. At one point about 15 years ago, I sat my staff down for a five year planning effort, and started by saying that over the next five years we would not be getting any more staff, money or space—now what were we going to do with that time? The resultant document was a great plan and allowed us to accomplish quite a lot, both internally through directed effort, and externally by building up our recognition within County Government and the greater community. Planning should not be, in many cases, the “don’t worry about what we will need to accomplish this, just say what you think we should do” kind of document. Those tend to become great space holders on shelves, but seldom are accomplished.

 

Leadership is a very important topic among museum professionals. What advice do you have for becoming an effective leader?

Have a clear vision for your institution, and make sure you are actively and vocally following it. Listen to your staff, and make sure they understand and are part of that vision. Are you serving your community, or waiting for them to serve you (with more resources, space, etc.)? Is your staff aware of what their role should be with the community? Are you aware of what your staff is thinking? Leadership is not yelling or directing, it is making sure your staff is with you in the direction you are going, not getting lost or walking away. Always remember that leading in a void is rather ineffective.

 

Can you relate any of your experiences working on TV shows to working at a museum?

Working in museums brings a number of ethical challenges, which are somewhat magnified on television shows. Boards, staff, volunteers, visitors all can ask for efforts which are not in keeping with museum ethics at times, and television crews do this on a regular basis. It is important to know your boundaries, and not let yourself be pushed outside of what is appropriate. You are on your own in controlling what you are willing to do and whether what you are being asked to so is ethical, and you have to take that responsibility seriously.

 

How has working on TV shows changed they way you think about museum public/media relations, as well as how you interpret objects and stories for the public?

I don’t think it has changed it. My brother once described my role on Pawn Stars as “Mark on steroids” meaning that I have always understood artifacts as teaching tools, and now have a greater podium. I find now that I have a greater podium from which to speak, and a concomitantly greater responsibility to try at all times to get what I say right and within the bounds of good museum practice. On a different level, I am also aware of my role as presenter of the museum field and our work to the public, and often take the opportunity to explain why I say and do what I do, and how it is informed by my professional background.

 

Your book Asphalt Memories discusses the origins of street names in Clark County. What is the most interesting street name story in Las Vegas?

My favorites are two intertwined stories, that of Colanthe and Gilmary. When Larry G. McNeil of McNeil Construction, which built the Basic Magnesium plant and later built subdivisions and a number of other buildings, wanted to name a street for Florence Murphy, the first female vice-president of a scheduled airline in the United States, she refused. Eventually she said alright, but only under the condition that he use her real first name, which she hadn’t used since the age of five, and that he name a street for his real middle name which he never used. Hence, Colanthe and Gilmary Avenues. Florence was the person who told me the story initially, and it was one of the tales that led me to write the book. After the book came out, McNeil’s grandson visited me, and I told him the story. His response was “That was his middle name?”

 

What can WMA2014 attendees expect from your Keynote?

I hope they will have some laughs as well as some information that will help them think about whether they want to work with the media as I have. There are good and bad stories to being in the media, no matter how good the final product can be for your institution. I also hope they will find it at least enjoyable enough to stay awake, since it is first thing in the morning.

 

What is the most unexpected piece of information is about Las Vegas?

It is a very nice place to live and raise a family. My wife and I have raised two children here, a daughter who is a hydrogeologist in Reno and a son who is heading to graduate school this fall. There are wonderful historic and natural areas here, which are readily accessible, often within minutes of the Strip.

 

What would you like to say to attendees as they prepare for WMA 2014 in Las Vegas?

It may be warm and it may be cold. That may seem a little self-evident, but do check the weather forecasts before you pack. Take advantage both seeing the Strip and getting off the Strip. Among other things, the Las Vegas Strip, which is in Clark County not Las Vegas, is a unique walk (wear good shoes) and an All-America Road. And finally, plan to have a good time. We are pretty good at providing one.

 

Register for WMA2014 and attend Mark Hall-Patton’s 2014 Annual Meeting Keynote Address. Additionally, he is a panelists on two sessions—Revenue Diversification: Your Museum as an Event Venue or Film, and Photo Shoot Location and Collections That Can Kill: Safe Handling, Display, and Storage of Hazardous Materials and Weapons.

Learn more about the 2014 Annual Meeting here.

Lauren Valone is the Program Coordinator for the Western Museums Association. She has served on the Marketing Committee of the Waterworks Museum, and as Web Content Manager and Production Manager of Publishing and Social Media for an independent publisher. She holds an MA in Museum Education from Tufts University, a BA in Studio Art, Photography from Lewis & Clark College, and has been published in and copy-edited for the Journal of Museum Education.

WaMA Conference Review: Keeping it Real in Port Townsend

By Joseph Govednik

The Washington Museum Association’s (WaMA) 2014 Annual Conference was in beautiful Port Townsend, a waterfront town known for its Victorian architecture, artistic influences, and maritime heritage. The meeting was held at the Fort Worden State Park conference center. Fort Worden is a former U.S. artillery garrison with a commanding view of Puget Sound and surrounding majestic topography. Conference goers had several options for lodging including staying in the officer’s quarters, enlisted barracks, or opting for one of the fine historic hotels in town. Port Townsend proved an ideal setting for attendees to not only network, attend sessions, and reconnect with old colleagues, but also get away from the worries of their everyday lives.

Commanding Officers Quarters at Ft. Worden State Park

Commanding Officers Quarters at Ft. Worden State Park.

This year’s conference, running from June 18-20, 2014, encompassed the theme “Real Things, Real Stories, Real Places.” Opening with pre-conference workshops, tours, and our annual “Registrars to the Rescue” program, participants had ample opportunities grow professionally, explore the geographic history of our host city, and give back to the museum community. Being trained in museums collections management, I had the opportunity to participate in Registrars to the Rescue (R2R), now in its third year. This program was created by Rebecca Engelhardt from the Museum of Glass in Tacoma. It’s an active hands-on task force where museum registrars and collections professionals gather at a local museum in need of curatorial collections assistance. This year’s recipient of the “R2R” task force was the Jefferson County Historical Society’s Historical Research Facility. Our task this year was repacking, photographing, cleaning, and condition reporting an entire collection of bird mounts dating from the 1890’s. It was a pleasure to work with colleagues from other institutions on a collaborative collections task and give back to our community!

The opening reception on the first night took place in an 1883-built Victorian mansion with a panoramic view of the waterfront, ferry terminals, and Mount Rainier. Owners Linda and Bob McGuire graciously opened their home to conference attendees with live music, generous hors d’oeuvres, and beverages. Several other historic homes were also available for visitors to tour during the reception.

Attendees at the WaMA 2014 Opening Reception at Victorian house from 1883

Attendees at the WaMA 2014 Opening Reception at Victorian house from 1883.

The second day of the conference opened with a general meeting attended by David King, Mayor of Port Townsend, and Jefferson County Commissioner John Austin. Both gentlemen gave a warm welcome to the audience and stressed the importance of heritage and arts organizations in communities. Our annual awards program honored exceptional works in the areas of exhibits, programs, and projects to name a few. The keynote speaker, Knute Berger, an award-winning writer, historian, and preservationist presented an inspirational and personally touching address. Knute brought up personal experiences and connected them to the challenges of humanity, culture, and real experiences. It was inspirational and thought-provoking, leading to many discussions amongst our attendees after the address concluded. His keynote address can be seen here.

A special thanks goes to our program committee for selecting relevant and compelling sessions related to “Real Things, Real Stories, Real Places.” They included topics ranging from surviving AAM accreditation and digital photogrammetry to using fiction to delve into the world of “real” things. Concluding the day’s sessions, attendees proceeded to the annual banquet at the Northwest Maritime Center. This venue was a spectacular place for our banquet, welcoming visitors with to a spread of oysters, drinks, and a buffet that included seafood selections catered by Mystery Bay Seafood Company. If eating delicious seafood at a waterfront maritime center wasn’t enough to give a local and real Port Townsend experience, the addition of sea chanty singers took things to the next level. The singers performed lively tunes that encouraged audience participation, and as the sun got lower on horizon, we headed out for more chanties and stories around an open bonfire on the beach.

Beautiful Port Townsend at sunset.

Beautiful Port Townsend at sunset.

The Washington Museum Association conference in Port Townsend was a huge success due to the hard work of an active board of directors, volunteers, and engaged members. Also contributing was the wonderful hospitality afforded us by the host location of Port Townsend, which welcomed us with open arms. Having municipal representation at our meeting from the host city demonstrates a commitment toward promoting the importance of heritage and arts organizations.

On a personal note I wish to express special thanks to outgoing WaMA Board members Brenda Abney (Wenatchee Valley Museum and Cultural Center) and Maya Farrar (University of Washington Museology Program) along with Past President Eric Taylor (4Culture) for striving for excellence in our association. They have contributed greatly to a legacy our membership can be proud of, and inspiration to our current Board.

This was my fourth WaMA conference since moving to Washington State over three years ago. I have always been impressed with the WaMA and consider it an honor to work with this state-wide museum organization. I look forward to building greater ties and partnerships with regional associations like the WMA. In our tradition of holding conferences on alternating sides of the “Cascade Divide,” we are looking forward to our June 2015 conference in Goldendale at the Maryhill Museum of Art along the Columbia River. We hope to see you there after the October WMA conference in Las Vegas!

Joseph Govednik is the Curator at the Foss Waterway Seaport in Tacoma and President of the Washington Museum Association Board. He is active with heritage organizations at regional, state, and local levels.

Updates From the Museum Association of Arizona 32nd Annual Conference

By Nancy Cutler

Mutual Engagement: Museums and Communities was the theme for the 32nd Annual Conference of the Museum Association of Arizona (MAA), held May 1st and 2nd, 2014 in the fun mountain town of Flagstaff, AZ, “Gateway to the Grand Canyon.” Centered at the Northern Arizona University’s duBois Conference Center and hosted by Museum of Northern Arizona and the Arizona Historical Society, Northern Division, the Conference was attended by more than 100 delegates, speakers, and guests.

The Wednesday evening President’s Reception, hosted by Riordan Mansion State Historic Park provided an informal atmosphere for Arizona museum professions to begin networking with comrades, familiar and new.

Three Arizona EMPs at the President’s Reception

Three Arizona EMPs at the President’s Reception

Keynote Speaker, Candace Matelic, PhD, from Santa Fe, New Mexico, gave an inspiring address on the “Transformative Power of Community Engagement.” This was followed up with a well-attended workshop, “Tools for Engaging Communities” giving guidelines on the process of how to begin involving sectors of the community with the museum as the focal point.

Candace Matelic delivers the Keynote Address

Candace Matelic delivers the Keynote Address

 

Keynote speaker Candace Matelic’s follow-up workshop

Keynote speaker Candace Matelic’s follow-up workshop

Sessions featured several roundtable discussions, as well as a Collections Track, including a hands-on discussion of basketry care and curation by the staff of the Arizona State Museum Conservation Department. Four off-site afternoon tours allowed participants to visit significant sites in Flagstaff, including the Lowell Observatory, a Walking Tour of Historic Downtown Flagstaff, further tours of the Riordan Mansion SHP, and the Museum of Northern Arizona’s new Easton Collection Center, which has achieved a Platinum LEED designation and has received the “Best of the Best” Award from McGraw-Hill.

Other events included a silent auction, which raised over $1500; dinner and live auction, at the Museum of Northern Arizona; and the Annual Business Meeting and Awards Luncheon celebrating significant achievements of individuals and cultural institutions in Arizona’s museum community. Awardee Navajo Nation Museum fascinated the Luncheon attendees with clips from the film “Navajo Star Wars”. The Conference was capped off by the Flagstaff First Friday ArtWalk of downtown art galleries, which began with a wonderful reception hosted by Hidden Light Framing and Photo Gallery featuring a bountiful selection of delicious appetizers provided by Simply Delicious Catering.

Navajo Nation staff receives the 2014 MAA Award of Institutional Excellence

Navajo Nation staff receives the 2014 MAA Award of Institutional Excellence

Post-Conference saw some delegates attending a joint workshop with MAA and the Registrars Committee-Western Region on Photographic and A-V Materials Preservation Issues at the Museum of Northern Arizona, and others taking a post-Conference tour of the historic La Posada Hotel and Old Trails Museum in Winslow, AZ on Old Route 66.

Overall there were many opportunities for collegial networking, an important element of our Annual Conference, and we achieved our goal of involving and introducing the Flagstaff community to the Museum Association of Arizona while engaging with the local community.

Nancy Cutler has served as Chair of the Museum Association of Arizona’s Annual Conference Committee for the past three years. She is also a member of the Board of the Central Arizona Museum Association and was a founder of the Museum Educator’s Council of Arizona. Following 12 years in the Education Department of the Desert Botanical Garden, she now works as a consultant, leading workshops at the state, local and national level, including the American Association for State and Local History. She is the co-author of A Museum Educator’s Manual: Educators Share Successful Techniques (2008, AltaMira Press).

Reframing L.A.: Awarding Excellence in the Getty’s “Overdrive” Exhibit

By Christopher James Alexander

When my Getty colleagues and I embarked on the development of an architecture exhibition about the rapid evolution of one of the world’s most dynamic and influential cities, we had to embrace one harsh reality. People love to hate Los Angeles. Despite the fact that this region has inspired the creation of some of the most iconic structures of the twentieth century, including Griffith Observatory, the Capitol Records Tower, John Lautner’s Chemosphere, the space age Theme Building at Los Angeles International Airport, and Case Study House 22 by Pierre Koenig, many are more inclined to associate this vast metropolis with haphazardly assembled banality than engineered excellence. Reframing the public’s perception of L.A.’s built environment was an exciting and daunting opportunity. Thanks to the extraordinary contributions of scores of talented individuals, Overdrive: L.A. Constructs the Future, 1940–1990 was able to reveal how Southern California’s latent landscape was transformed into a vibrant laboratory for architectural innovation.

There are multiple ways to engage with the exhibit including videos, iPads with sound wands, and 3-D viewers.

There are multiple ways to engage with the exhibit including videos, iPads with sound wands, and 3-D viewers.

Receiving the Western Museum Association’s (WMA) Charles Redd Center for Western Studies Award for Exhibition Excellence was a tremendous honor for the entire Overdrive team. This project was full of unexpected challenges that were overcome as a result of the nimble ingenuity and tireless efforts of colleagues throughout the institution. The recognition from our WMA peers was a profound endorsement of our ambition to create a vivid experience that would engage, inform, and delight museum visitors with underappreciated dimensions of L.A.’s complex architectural legacy.

Within the 'Community Magnets' section, there are a variety of objects to tell the story of the 1984 Los Angeles Olympics.

Within the ‘Community Magnets’ section, there are a variety of objects to tell the story of the 1984 Los Angeles Olympics.

The exposure that Overdrive received as a result of this important prize bolstered the National Building Museum’s presentation of the exhibition in Washington, D.C., which opened soon after the award’s announcement. The WMA buzz factor also resulted in increased traffic to the exhibition’s website, which still includes 23 videos highlighting the region’s growth and impact through animated maps, lively historic film footage, and intriguing oral histories. Interest in the exhibition’s catalogue also grew, due to the vibrant WMA network’s awareness and promotion of the project.

In the final gallery, the relationship of furniture and graphics define the space.

In the final gallery, the relationship of furniture and graphics define the space.

Every new exhibition provides an institution with the chance to redefine how complicated ideas and unique material may be presented to diverse audiences. The strength of the WMA community encourages us all to forge ahead with our ongoing goal of creating inspiring narratives and stimulating environments that spark fresh insights and cultivate meaningful moments of interaction. My colleagues and I are extremely grateful for the WMA’s support, and we look forward to exploring all of the compelling contributions from this year’s Charles Redd Center Award nominees.

The deadline for nominations to the 2014 Charles Redd Award is
July 31, 2014.

Learn more about the Award here.

Christopher James Alexander is the assistant curator of architecture and design at the Getty Research Institute. Since arriving at the Getty in 2004, he has co-curated the exhibitions Overdrive: L.A. Constructs the Future, 1940–1990 (2013); Julius Shulman’s Los Angeles (2007); Julius Shulman, Modernity and the Metropolis (2005); Bernard Rudofsky: What Would Intrigue Him Now? (2007); and the Getty’s installation of Lessons from Bernard Rudofsky (2008). He is the co-editor of Overdrive: L.A. Constructs the Future, 1940–1990 (2013) and the author of Julius Shulman’s Los Angeles (2011). Alexander earned his M.Arch degree from the University of California at Los Angeles and B.A. in Fine Arts and Art History from The George Washington University.