Changing History Museums: Thoughts on the AASLH Conference

"The Spirit of Rebirth", the theme of the recently completed AASLH (American Association for State and Local History) Annual Meeting, seemed to aptly capture perceptions of the host city of Detroit, as well as the state of the History Museum field itself.

This was my first time attending an AASLH Conference as a fully-registered participant, and I couldn't have been more impressed by how well the events and sessions were put together, and the warm welcome I received from History Museum colleagues.  Even though I don't think of myself as a History Museum person, my first museum job (as you can see in the photo below) right out of college was working as a living history interpreter portraying a Civil War soldier --- for the Detroit Historical Society!

But what really struck me in Detroit about the session topics as well as the hallway conversations (where the REAL information exchanges take place at conferences!) was the emphasis on change --- in relationship to both content and audiences for history-centered institutions.

There were a number of sessions on topics ranging from food interpretation to early learners to VR approaches toward historical architecture where it was clear that History Museums were drawing from approaches that might normally be found in Children's or Science Museums, or even mass media (one food-related session was titled "Don't Get Chopped!" after a popular TV show.)

VR historical architecture in the Exhibit Hall!

Before attending the Detroit conference, I honestly had the perception that history organizations were lagging behind in terms of incorporating many innovative, interactive, and immersive approaches toward their content, but I feel that History Museums really have the opportunity to be in the forefront of the museum field in their interpretive approaches.  (In that regard, I was happy to co-present a workshop called making/history with Lisa Brahms and Kristin Fontichiaro that explored how history folks can leverage the Maker Movement at their museums.)

making/history in Detroit!

The other evidence of true change I felt in Detroit were the conversations and sessions focused on ways for History Museums to become more welcoming and inclusive to the wide range of communities they serve (and want to serve!)  Perhaps with the city of Detroit as a backdrop (a place filled with social and racial upheaval for much of its history) it should have not been surprising that folks at the conference were having strong conversations about topics such as reinterpreting slavery, sharing stories of race and diversity, and using oral history as a tool for social action.

I took a picture of a slide from one of the last sessions I attended in Detroit, which really seemed to capture my feelings about the conference.  I look forward to seeing (and hopefully participating in!) the many positive changes in content and community that are happening in the History Museum field.

Don't miss out on any ExhibiTricks posts! It's easy to get updates via email or your favorite news reader. Just click the "Sign up for Free ExhibiTricks Blog Updates" link on the upper right side of the blog.

P.S. If you receive ExhibiTricks via email (or Facebook or LinkedIn) you will need to click HERE to go to the main ExhibiTricks page to make comments or view multimedia features (like videos!)

What Can Museums Learn From The DIA?

Hooray for the Detroit Institute of Arts! ---  one of the bright spots in the sometimes grim reality of modern-day Detroit.  Since I was born and raised in Detroit (yes --- actually inside the city limits) I've followed the recent activities of the Detroit Institute of Arts (DIA), one of the first museums from my childhood with great interest.

Two particular aspects of the recent history of the DIA could well provide valuable lessons for museums of all types, stripes, and sizes:

1) Look Inside First
The Detroit Institute of Arts re-opened in 2007 after being closed for several years to reinvent and reinterpret (my words) itself.  As part of this process, the DIA building(s) and the collections were re-arranged and re-installed in ways to deliberately make the world-class collections more accessible to the widest range of the visiting public. 

New labels and graphics provide information for multiple ages and interests, while interactive opportunities (both low-tech and high-tech) directly related to the art/collections in each gallery foster understanding for different learning styles.  For example, a "virtual dining" experience set amidst a gallery of centuries old French silver, glass, and porcelain, gives what could be a "what's with all these old dishes?" experience much more context.

Perhaps more importantly, the DIA weaned itself (for the most part) away from big traveling "blockbuster" shows, and chose to exhibit, display, and reinterpret the wealth of its own collections.  The museum looked inside first, with much success.

Every museum has internal and community resources that it can use to its benefit, if each institution chooses to look "inside" first instead of reflexively always looking "outside."  To me that's the first lesson of building up "internal capacity" and part of what makes a museum shift from being merely good to truly great.

Unfortunately, reopening right before the world-wide economy crashed in 2008 really rocked the Detroit Institute of Arts.  Like many other museums, the DIA faced layoffs and budget cuts --- especially painful following the excitement of the "new" DIA opening.   The DIA was forced to face the "dirty little secret" that most museums try to avoid, which leads to lesson Number Two:


2) Where's The Money?
Even though the Detroit Institute of Arts has an endowment, the museum was still woefully underfunded (over time funding from the State of Michigan shrank from $16 million a year in the 1990s to zero in recent years.)  Despite being a world-class museum, the Detroit Institute of Arts might have been forced to close its doors. 

Instead the DIA successfully risked touching the political "third rail" (especially these days) of TAXES.  Fortunately, a tax millage was successfully passed in the three counties containing, or nearest to, Detroit.  In exchange for homeowners ponying up approximately twenty dollars per household per year for the next 10 years, the DIA will get around $23 million per year and provide free admission to anyone who lives in any of the three counties in question.

Several cities in the U.S. (St. Louis for example) provide ongoing governmental support to ensure the financial health of their cultural institutions.  Because that's the "dirty little secret" of museums --- most institutions, despite their optimistic projections, simply cannot sustain themselves over the long haul without the continuous, ongoing support of some private or governmental benefactors (or both!)

So what about the arguments of citizens around Detroit who opposed the tax millage?  Namely, if your museum can't be "run like a business" you shouldn't be in business in the first place?  (A view often shared by some museum trustees around the U.S.)  Should any government and/or society provide funding to sustain its cultural institutions in some way?   Even if I didn't work in museums, I'm sure my answer would be "yes." 

But what do you think? Should museums be more forthright with the public about the limitations and inherent differences of running a cultural institution "like a business"?  How might being more honest about the "dirty little secret" of museum budgets and budgeting change public funding streams?  

Let us know your thoughts in the "Comments" Section below.



Don't miss out on any ExhibiTricks posts! It's easy to get updates via email or your favorite news reader. Just click the "Sign up for Free ExhibiTricks Blog Updates" link on the upper right side of the blog.

P.S. If you receive ExhibiTricks via email (or Facebook or LinkedIn) you will need to click HERE to go to the main ExhibiTricks page to make comments or view multimedia features (like videos!)