Newport News: Impressions of the 2013 NEMA Conference

The 95th Annual NEMA (New England Museum Association) Conference just finished up in Newport, Rhode Island.  Having never been to Newport before, I couldn't help thinking of something Mark Twain said in his autobiography:

"Newport, Rhode Island, that breeding place, that stud farm, so to speak, of aristocracy; aristocracy of the American type."

And since the first night's evening event was a fabulous party held at The Breakers, Commodore Cornelius Vanderbilt's "summer cottage," it was hard not to see the point of Twain's quote.  

But despite being surrounded by many incredible historic mansions, the 2013 NEMA Conference itself was quite accessible and filled with lots of practical information.  The conference theme (which was crowd-sourced last year) was "Who Cares? Why Museums Are Needed Now More Than Ever."
  
This year, NEMA offered a conference app, and many session handouts were made available via a download section of the NEMA website. 

Obviously I couldn't attend every session and event at the Conference, but here are some impressions of the things I did see and participate in:

Is Your Museum Ethical?  Hats off to Session Chair Rebecca Smith for being willing to raise a set of tricky issues that come up in the museum business.  The session was well-attended with good opportunities for session attendees to participate in resolving hypothetical ethical dilemmas.  Julie Hart, from the American Alliance of Museums, also spoke about resources available from AAM in this regard.  Check out the PDF handouts from the session on the NEMA website.


Telling a Better Story Outside the Walls of Your Museum  Session leaders gave some great tips on "setting the stage" for indoors experiences with outdoor installations.  Among many pieces of common sense advice that stuck with me were exhortations that "little impressions add up" so maintenance and repair, especially of outdoor exhibits and signage are important, and that it is important to test outdoor components, especially those involving digital technology or electronics, to ensure they work as intended.


Creating Experiences for Visitors to "Think with Their Hands"  Of course I'm biased since I was a presenter at this session with colleagues from Art, History, and Children's museums, but this deliberately "hands-on " session gave participants many different ways to think about how content could be translated into meaningful gallery activities and/or exhibits by letting visitors (and staff!) "think with their hands."  One resource mentioned during this session was the Great Big Exhibit Resource List, a constantly evolving list of exhibit materials and suppliers.

 

Gaming in Museums: From Low-Tech to High-Tech  This active session gave us opportunities to play with and evaluate actual museum game concepts.  We also discussed the broad concept of "barriers to entry" and ways to make games and museum game installations most broadly accessible. You can check out a session handout here. 


Valuing Neurodiversity: Interns with Asperger's Syndrome in a Museum Gallery Guide Program  Of course museums and museum people constantly strive for accessibility in our programs and institutions, but it is often difficult to think about the practical steps needed to accomplish those goals.  This session provided great background information, as well as practical tips and case studies, on how to provide access and opportunities for people on the autism spectrum.  Two takeaways here were to break tasks into small chunks, and to look for ways to minimize "surprises" or unexpected situations for people along the spectrum (whether visitors, staff, or interns.) Great handouts available via the NEMA website. 

Perfecting Your Elevator Speech  The title is pretty self explanatory, but Dan Yaeger, the Executive Director of NEMA gave a funny and engaging presentation on a topic that we could all probably benefit from thinking about a little more.  Excellent handouts here.

The two last things I'll speak about are: 

1) The "Demonstration Stations" (short demos on focused topics that took place in the Exhibit Hall) which seemed from all reports to be a resounding success.  I think this idea could be replicated at other museum conferences as well.

2) The PAG (for Professional Affinity Groups) Lunch Sessions were another great way to network and gather with colleagues from like-minded  groups (like Exhibits folks, or Museum Directors).  The Exhibitions PAG described several interesting exhibits collaborations, including the "Curiouser" exhibitions that took place at the Museum of Natural History and Planetarium at Roger Williams Park.

Of course it wasn't all work!  I got a mini-lesson on how to balance on the "spinning globe" ball from circus and vaudeville master Reg Bacon (pictured below) during Friday's coffee break!

All in all, I found this year's NEMA Conference to be extremely well-organized --- filled with many opportunities to learn, as well as many chances to network with peers.  Major, major kudos to the NEMA staff and this year's conference organizers for a job well done!  I hope to meet more ExhibiTricks readers in Cambridge, MA at the 2014 NEMA Conference.


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Moving Minds and Bodies: An Interview with Christina Ferwerda

Christina Ferwerda is an independent professional who bridges the worlds of museums, education, and movement. Her practice drawing from museum experiences, and moving (dance, yoga) has been an important part of her development as a teacher and a learner.  Working in Museum Education for over 10 years fueled Christina's desire to make varied cultural spaces more user-friendly for people of all ages, and led her to start working in Exhibition Development.  She currently works with partners in New York City (her home base) and North America as well as on projects abroad.

I was excited and pleased that Christina was able to provide this interview for ExhibiTricks!



What’s your educational background?  Well, I had a really hard time deciding what I wanted to do - I think as you grow up, there is a certain pressure to know what you want to "be" when you get older.  I started college as a journalism major, but found the field so cutthroat and competitive: it was a real turnoff. Therefore, my undergrad degree became a mishmash of a variety of fields - journalism, art history, studio art, and theater. I was surprised that Marquette University let me graduate! Now that I work on exhibit development, I can see how all of those fields fit together, but at the time I just wanted to finish, and felt like that combination of fields represented a path of some kind.

After I finished undergrad, I moved to Paris (by accident! I went for vacation and didn't return for 2 years). While there, I studied French history and culture at La Sorbonne. And when I moved to New York, all of these experience came together with a graduate degree at Bank Street College of Education. It became clear that my skills could be used to create education programs and exhibits for everyone to enjoy.



What got you interested in Museums?  I grew up in a very small town in New Hampshire, and therefore museum-going didn't really figure into my young life - I spent most of my time finding bird feathers in the woods with my sister. However, in college I started to notice how much imagery and art helped me understand and express myself. When I went to Europe for the first time in 1998, I went to basically every museum I could find. And the true, transformative experience came when I found a late Picasso painting "The Matador and the Nude" (1970). I sat in front of that painting for about 2 hours, just thinking about the various shapes, lines, emotions and experiences that must have informed its making. After that, I was hooked. Today I go to tons of museums, as well as performances of various kinds.

Why Yoga AND Exhibits?  Great question - so many people ask me about that, and are curious about how I can make a living doing both.  So many of the experiences that museums provide center around providing a very concrete bit of information in a creative way - as institutions strive to help the public understand complex ideas and opinions. The goals of a regular yoga practice are very similar, however the ideas that are being communicated are often very philosophical and internal. What interests me is the intersection of the two - the very generalized idea and the personal embodiment. Making physical shapes that are connected to things we see and concepts we understand bring a more developed grasp of the information.

A very simple example that I use very often in teaching yoga is to cue my students to imagine that they are in a comic book, as Superman, and that their foot or hand is being accompanied by the word "POW" in the jagged text box. The visual informs a very physical and concrete movement and a sensation of energy in that part of the body, and the movement of the body brings a real visceral understanding of the image.



Tell us a little bit about how your “non-museum” skills/activities inform your exhibit design work?  I think the most important connection for my personal work is through yoga.  I really learned about having  a "practice" - coming back to the same ideas and goals, but constantly trying to explore and be inventive with them to find new and interesting approaches. Very often when I'm working on complex projects, I'll find a related movement goal and try to push the two forward together. This past winter, when we were working on the first children's museum in Bulgaria together,  I was struggling with language and the language barrier. Therefore, I chose a complex yoga pose that is highly connected to creativity and expression (the famed Scorpion pose). Of course, as you practice, you embody and think about those goals. I found a great method of communication that worked for the project and moved it forward.

What are some of your favorite online (or offline!) resources for people interested in finding out about the intersection between movement and museums.  Of course, there are quite a few resources online to learn about the latest in movement research and museums. However, I tend to try and go to as many things as I can in person - performances, exhibits, and especially performances or movement classes AT museums. The two fields are starting to intersect and overlap more and more, as the divide between performance and art becomes blurred into performance art. I also find it incredibly important to watch the way people travel and move within an exhibition - are they comfortable getting on the floor, or attaining a different view of an object, and is that posture available to them? I learn quite a bit that way.

I've recently been a bit disappointed in yoga classes that are offered in museums and cultural institutions - its such a rare opportunity to draw from the surroundings, and I haven't often found classes or teachers that make reference to the artwork or setting that surrounds them. I'm hoping to see a more conscientious connection between the two in years to come.



What are some of your favorite museums or exhibitions?  I'm a huge fan of Olafur Eliasson - I will go and find his exhibits whenever and wherever I can. His work has a really nice physical and visceral quality. I saw him speak, and he discussed striving for his work to have a "wow" moment, followed by an "aha" moment - one gets excited and hooked, but that curiosity fuels a revelation. That goal shines through his work and is something that I try to keep in mind when I'm thinking about yoga classes or museum experiences - that the experience should be physically and mentally exciting, and that the experience will feel more complete if there can be an educational realization tucked in there somewhre. I think the museum I've been to the most is MoMA, I like the way that sightlines and divisions of space create little "surprise" moments with art. To me it feels very personal, like I'm getting a special showing of the artwork. 



Can you talk a little about some of your current projects? Well, I'm about to head to New Orleans to install Moviehouse NOLA, a small social history and contemporary art exhibit. It's been a very challenging and rewarding process, building an exhibit about movie theater history there. I'm also continuing to work on a children's discovery room for the Florida Museum of Natural History and of course, continued work on Muzeiko, a children's museum in Bulgaria. They are all at different stages of development, so it definitely keeps me on my toes!

I'm also continuing to work on bringing movement to spaces infused with meaning - I just taught at a Zen monastery, and will be leading another retreat there in July. The movements are based on Zen philosophies and the life of the Buddha, and I'm working with an amazing co-teacher Kristen Mangione.



If money were no object, what would your “dream” exhibit project be? Ha, this changes every day for me! Recently, though, I've been thinking a lot about "the walking man" - a concept that Bill T. Jones used in exploring his last piece "A Rite."  Walking is so mundane, yet we rarely think about it. I'm sure there is some amazing research about culture, body language and walking . . . .

Thanks, Christina for sharing your thoughts and insights!  You can find out more about Christina Ferwerda and her work moving minds and bodies via her website or Twitter feed (@rationallunatic).




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ASTC 2013 Takeaways. Making Good (not "Breaking Bad") in Albuquerque.

The annual gathering of the international clan of Science Center professionals descended on the beautiful desert locale of Albuquerque, New Mexico last week.

While the sessions and presentations during the Association of Science-Technology Centers (ASTC) conference (and in the hallways, bars, and exhibition hall!) were eclectic and varied, there did seem to be clusters of topics that kept popping up.

And chief among those topic clusters was the whole Make/Maker Making/Tinkering "movement."  There were several sessions that dove into both celebrations and concerns about how, or whether, to bring a Maker Space to your museum. 

One session that I was part of entitled "Is There Science in a Maker Event?" chaired by perennial gadfly Hooley McLaughlin of the Ontario Science Center raised issues of content over process that were ably countered by two thoughtful Making/Tinkering advocates in Karen Wilkenson from the Exploratorium and Lisa Brahms from the Children's Museum of Pittsburgh.  There was lively interaction with the audience, but ultimately no firm resolutions (other than suggesting that Hooley needs to visit some more Maker Spaces!)  Other Make-minded sessions explored whether the Maker "buzz" was just a fad, as well as the best ways to work with local communities to create Make spaces and events.

Personally, I find the whole Maker movement an exciting opportunity for museums if pursued with strong community input and realistic expectations about internal logistics (As two simple examples: YES, Maker Spaces should be staffed!  NO, Maker Spaces aren't just a place for a bunch of 3D printers!)

Speaking of 3D printers, there were several vendors in the Exhibit Hall, and several museum colleagues as well who were talking about ways to use 3D printed versions of natural history objects (including scaled-up models of microorganisms!) in really interesting ways.  I'm working on a Discovery Room project that could really benefit from that.

Lastly, another place where I think the Maker/Museum intersection is really going to explode (aside from the current Children's Museum and Science Center booms) is inside History Museums.  If there was ever a place to tie together the making process with actual "made" products, in context, History Museums are it!




Another big thread throughout ASTC 2013 was thinking more carefully and critically about engaging various communities, from the early stages of the process, in our museum work.

Rather than replay all the sessions regarding community engagement, I'll share three links to resources worth checking out in this regard:

Sparticl is an online resource building a community to share the best science resources.  Sparticl has been designed primarily for teens, but it's really a great resource for everyone --- providing access to the best science on the web, curated by experts.

An excellent session about European collaborations between museums and community groups and governmental organizations introduced me to the PLACES project.  Check out their website to see the wide-range of ways that museums are finding to create cities of scientific culture.

Another great online community (which I'll be writing a more-detailed post about soon) comes from CAISE (Center for Advancement of Informal Science Education) in the form of the Web portal called informalscience.org, which is sort of the "one stop shop" for STEM information, evaluation reports, and resources.


In a way, I'm still digesting all the thoughts and conversations from Albuquerque, but I'd be remiss if I didn't mention that ASTC 2014 will be in Raleigh, North Carolina from October 18 through 21, 2014, and that session proposals for the Raleigh conference are due this November 15th, 2013.

You can check out the ASTC website for more info, and I hope to see you there!


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Wellbeing, Civility, Community, and Creating Exhibitions (AND a Contest!)

Creating Exhibitions is both the title of a new book, and the name of a recent symposium that was hosted by Polly McKenna-Cress (one of the co-authors) on the campus of the University of the Arts in Philadelphia.

While the Creating Exhibitions book is a "must buy" for any museum professional involved in designing or developing exhibits, the three keynote speakers at the symposium touched on (perhaps) less obvious aspects of our work in museums.

Dr. Mark O'Neill, Director of Policy and Research, Glasgow Open Life Museum in Scotland spoke eloquently about the connections between the museums he works for and the communities those institutions serve. One unexpected connection (at least to me) that Dr. O'Neill raised was the relationship(s) between regularly engaging in cultural activities (like visiting museums!) and public health.  Here's a link to a paper on the subject published in the Journal of Public Mental Health.


Keynote speaker Elaine Heumann Gurian, Senior Consultant, The Museum Group,  discussed "Social Collaborations: The Civility of Museums."  Elaine's talk dovetailed nicely with Mark O'Neill's --- especially in the sense that we should be creating museum exhibitions and programs not simply "for ourselves" but rather to find deeper ways to engage with our communities, and to promote civility through our exhibitions and public spaces.

As Elaine eloquently stated during her remarks:  "Museums, by themselves do not make up the civic landscape but I choose to believe that all public institutions have a cumulative and aggregative role in creating a more peaceable and respectful environment for its citizens and visitors.  While museums constitute a small part of the whole, fostering peaceful transaction between strangers is, I believe, a foundational building block toward general civic peace."

The last keynote speaker, Peter Kimelman of The FLUX Foundation, discussed the approach to art and design encapsulated by the Foundation's guiding principle: "Building Art Through Community, Building Community through Art."  In addition to sharing examples of FLUX Foundation's work (such as site-specific installations at Burning Man) Peter also described the interactive work (pictured at the top of this post and on the Creating Exhibitions Facebook page) that was created specifically for the symposium.

All in all, the symposium sessions and interactions served as both an exciting kick-off to the new Creating Exhibitions book as well as a fitting tribute to the late Janet Kamien (who served as the book's other co-author.)

And speaking of the new Creating Exhibitions book, here's the CONTEST where you can win your own free copy of the book! All you have to do is either become a new email subscriber to the ExhibiTricks blog (just click the link on the top right side of this blog page to get started)  
OR 
leave a note (in the Comments section below) about an important aspect of creating exhibitions that you think is overlooked.  So either subscribe or leave a comment by Friday, October 25th and I'll randomly select one winner from that combined pool to win the book!

UPDATE: Susan Wageman was the lucky winner of the book contest.  Watch your mailbox for your prize, Susan!


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Exhibition Inspiration: Moviehouse NOLA

It's always inspiring (and exciting!) to come across exhibition projects involving smart, enthusiastic people doing things outside the typical "museum box."

And Moviehouse NOLA, a project involving the history and personal stories behind classic New Orleans movie theaters, is definitely such an exhibition project!  (Check out the Kickstarter video at the top of this post or click here to view.)

I've become really intrigued by this developing creative enterprise, so I'm pleased that two key members of the team behind Moviehouse NOLA, Isabella Bruno and Christina Ferwerda, were able to answer some questions and provide more details about this innovative exhibition experience that will open soon in New Orleans (hence the "NOLA" in the title.)



What's the story behind Movie House NOLA? 

Christina: Moviehouse NOLA is a site specific pop-up exhibition that explores the history and reuse of movie theaters in New Orleans. Recent books, newspaper articles, and documentary films have brought attention to the history of these buildings around New Orleans, which have been torn down or repurposed.

In exploring the stories of these buildings, what we've found is that the story of the theaters opens an interesting dialogue about HOW people used to go to the movies, and the purpose that these experiences had in shaping lives. We wanted to highlight the personal stories as well as encourage visitors to think about movie history in New Orleans and what they would like the spaces to be today.

Isabella: I'd also add the idea of Moviehouse NOLA being a really "ground-up" process to make an exhibition, that works faster than a standard institutional exhibition. We have more latitude in content development (aka an x-rated section only for adults, because it's important to not ignore adult theaters as echoes of New Orleans' Storyville past.) We can be *almost* impulsively responsive to opportunities that appear in front of us (like the fact that we might still add a Saenger Theatre uniform with only 3 weeks until opening, just because it's so cool and recently has become available to us).

Its "ground-up" nature can also be seen in the make-up of our supporters, people who love the content so strongly that they invest in its dissemination, by contributing objects collected as artifacts, sharing their experiences as the beginnings of a growing oral history collection and becoming "micro-lenders" who invest in the project via Kickstarter. I think of crowd-funding as purchasing pre-sale tickets which have the added value of helping us buy sheetrock. We are building the exhibition one invested ticket-holder at a time.

  

Why do an exhibit on movie theaters of New Orleans?

Christina: The topic was ripe for discussion - its been a part of emerging conversation in New Orleans for about a year, and with the reopening of the Saenger and the Joy theaters this year, as well as redevelopment of the Carver theater in process, we want to bring this story to the general public so that they understand the significance of these spaces in the city history. Additionally, New Orleans has such an interesting link to the film industry, and currently the population of film industry professionals in New Orleans has very few options to actually see their own work.



Will this be a travelling exhibit? (Or could this format be adapted to "cinema stories" in different cities?)

Isabella: YES! Definitely. The general idea is universal across most major metropolitan cities, even cities without large populations. The exhibition we've created is a kit of parts that can tell the story of any city that had glorious neighborhood theaters, cinema palaces, or drive-ins at one time. San Francisco has tons of old neighborhood theaters, marquees still standing but now the headlines read like a 99¢ or hardware store trip: "mops, brooms, kitty litter, sale items…" and on the flip-side, the Silver Moon Drive-In has been continuously operating for 60 years in Lakeland, Florida, just outside of Tampa. How did SF's close and Lakeland's stay open? There's big city and small town stories right there. We'd love to create Moviehouse SF, Moviehouse Lakeland and on and on.

If you could start your own theater, what would be the concept (drive in, single screen, multiplex, dollar, rep, etc), where would it be located and what would be the name?

Isabella: I would want to encourage more of the audience participation rituals experienced with cult flicks. One of my favorite high school memories was going to the the New Orleans Worst Film Festival and seeing Plan Nine from Outer Space. It is truly an abysmal film. The audio is almost totally raw, the continuity between props and settings assumes the audience is so dumb that at one point the shot goes from day to night IN THE SAME SCENE. Bela Lugosi passed away during the filming, so they hired another actor to just hide behind the cape and finish his role.

 

Yet, all these castrophes are made a billion times more enjoyable in present viewing of Plan Nine simply because I have the memory of an entire audience throwing paper plates into the air and booing every time the "UFO" appears in the sky…dangling from a single white string.  I think of John Waters' homage to Smell-O-Vision, when he released Polyester with scratch-and-sniff cards. Whatever the actual space is for my theater, it would be designed to encourage more rituals, improvisation, and participation by the audience.



Is there a NOLA theater or theater related story that has stuck with you?

Isabella: I think I accidentally answered this one in the question above! I'll add that the viewing of Plan Nine wasn't even in a theater, the festival took place in Benjamin Franklin High School on bleachers. For the film, that environment was just the PERFECT vehicle to transport me and I'll never forget it.

Christina: There have been so many great stories in researching this project. I know that one moment I will never forget is seeing Rene Brunet, in his interview, discuss his life in the movie theater industry, and say "I won't regret one day in this business." Hearing that from someone at that age really speaks to the place that these businesses had in the culture of New Orleans.

Could neighborhood theaters return?

Christina: Most of the Historians I interviewed felt that the time has passed for neighborhood theaters - they could never function, especially given the existence of television, Netflix, and other home viewing options. However, I sensed a real desire in a lot of interviewees and people I met while researching for at least some other options. And the more we find out, the more we hear about diverse underground or burgeoning projects that could provide New Orleans residents with some interesting options.

Isabella: Christina talked to many people about this and she has some thoughts from responses in New Orleans. Expanding beyond New Orleans, I hope that we begin to see a resurgence of recycled space in general, whether movie theater spaces or not.

I am truly in love with the work of MiLES, an organization in the Lower East side which is looking for ways to use time and space more efficiently by pooling resources in business infrastructure and available space. As a made up example, why can't a bar be a social club for retirees from 11– 4PM with a series of matinee movies? The bar space gets used in the hours that it can't be open and a service is offered that couldn't sustain the overhead of its own space. It's not just derelict, falling apart spaces that are not reaching their potential, there's wasted space all around us. We need to be more collaborative, conversational, and courageous in our thinking about how space can be utilized and how it can be programmed.


Thanks so much to Christina Ferwerda and Isabella Bruno for telling us more about Moviehouse NOLA! You can find out more about the project by visiting the Moviehouse NOLA Kickstarter and Facebook pages.


BUT MOST IMPORTANTLY,  if you've enjoyed the ExhibiTricks blog and gotten new exhibit ideas and resources here over the years, I'm asking you personally to click on over to the Moviehouse NOLA Kickstarter and contribute!  (I'm already a Moviehouse NOLA supporter.)

If every ExhibiTricks subscriber reading this post (not to mention the thousands of weekly readers!) contributed at least $25 bucks to the Kickstarter right now, we'd show our support for innovative and interesting exhibition projects like Moviehouse NOLA, and easily put Isabella and Christina over their fundraising goal.

Let's make it happen!  Please click over to Kickstarter now and show your generous support.




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Quick Inspiration: Paper Toys!

One of my ExhibiTricks readers pointed out this neat website that features a range of clever paper toys and free PDF templates and directions to make your own creations.

Have fun!

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!)