The MCN Scholarship Program awards scholarships to 15 qualified applicants from the cultural sector to attend MCN 2019 in San Diego, CA. The MCN Scholarship program is made possible by the support of our members, sponsors, and conference attendees.
Scholars are awarded the following benefits: – Complimentary conference registration – Choice of one complimentary professional workshop on Tuesday, November 5, 2019 – A $400 (USD) stipend for travel and food – Complimentary room at the conference hotel for three (3) nights: November 5-6–7, 2019 – An opportunity to meet with MCN board members over lunch during the conference – Complimentary MCN individual membership for one year
Scholarship Recipients Expectations:
Every scholar will be required to:
Present a five-minute lightning talk on a digital project they have worked on
Attend a mandatory scholar orientation and rehearsal the afternoon of Tuesday, November 5, 2019
Contribute blogs posts to be published on the MCN blog before and/or after the conference
Participate in social media discussions (via Twitter, Instagram, Facebook, or other platforms) reflecting on and sharing the themes and issues that emerge throughout the conference
Eligibility:
Previous MCN Scholars are not eligible to apply. To be eligible for an MCN Scholarship, you must meet one or more of the following criteria:
Be a first-time MCN conference attendee
Be employed at an institution with no more than 20 full-time staff
Be new to the profession with less than 2 years of experience in the field
In addition, MCN strongly encourages the following categories of applicants to apply:
International candidates (must reside outside of US)
Those who identify as part of groups that are traditionally underrepresented or otherwise marginalized, including, but not limited to, persons of color, LGBTQ+, and persons with disabilities
Program Conditions:
Scholars are responsible for their own travel arrangements and any visa applications to enter into the US
Scholarships are awarded nominally to each scholarship recipient, not to the company, organization or institution with whom they are affiliated
Stipends are exclusively issued in the name of the recipient. No exceptions
Should MCN be asked to cancel an active stipend check (i.e. issued and/or mailed but uncashed), MCN will charge scholarship recipients a $25 cancellation fee
Applications are due online by April 30, 2019, at 11:59 pm in your timezone.
In conducting my thesis research, I recently came across a quote that really stood out to me and that I think museum professionals can agree on:
“The most promising innovations in museums’ relationships with communities are coming not from the largest, oldest, and best-funded institutions, but rather from institutions once viewed as marginal.” (From “Audience, Ownership, and Authority” in Museums and Communities: The Politics of Public Cultures, edited by Ivan Karp and Christine Mullen Kreamer).
Why is it that some of the most striking, relevant exhibitions come from museums operating on a much smaller scale than say, the Metropolitan or the Museum of Fine Arts, Boston? That is not to say that larger institutions are not relevant to their communities, but in my experience, smaller museums seem to be a better platform for fostering interpersonal connections and serving the needs of their immediate audiences.
For instance, the Currier Museum is a resonant example of a museum actively engaging with its community by creating outreach programs that reflects its visitors’ needs. Its mission statement clearly supports this idea- “Focused on Art, Centered in Community, Committed to Inspire.” The Currier also curates exhibitions that directly respond to its community, such as the Visual Dispatches from Vietnam War exhibition that involved Manchester’s close-knit veteran community. More relevant, however, is the museum’s current work reflecting on one of the worst epidemics the United States is currently experiencing. Manchester, the largest city in New Hampshire, is unfortunately at the heart of the opioid crisis. In response to this, the Currier has created a program that invites family members of individuals struggling with an addiction to come to the museum and create art in a safe space. This is a beautiful example of a museum “reinventing” themselves to become relevant to their own community, proving that relevance is often more important than even the museum’s collection.
The Currier’s work in successfully engaging with its community reminds me of the transformation that the Wing Luke Museum in Seattle recently experienced. As a result of Director Ron Chew’s decision to create a “community-response” exhibition platform, that is an exhibition “that speaks to the issues happening here and now, and that reach and echo far beyond the museum’s space,” the Wing Luke Asian Museum experienced a spike in museum attendance, fundraised millions of dollars, and ultimately established a “mutually beneficial relationship” within its community.[1] I am impressed with museums such as the Currier and Wing Luke Asian that have taken the (sometimes scary) initiative to amend and improve their relationship with their community, by inviting more voices and perspectives to be heard and recognized.
What are your thoughts? Does the size and budget of an institution matter when it comes to producing relevant exhibitions? Do any other examples come to mind? Please share your thoughts in the comments below and keep the conversation going!
[1] Ron Chew, “Five Keys to
Growing a Healthy Community-connected Museum,” 6.
Often when a museum is dealing with tight margins, dropping interest from local visitors, and growing infrastructure concerns, they are inclined to draw inward, hunker down, and try to weather the storm by protecting the visitors, donors, and physical spaces they need to survive. Unfortunately, this can backfire, further alienating an institution from the very people that can stabilize and enliven it. While it may feel risky, going out into the community can be a pathway to survival and growth for a museum. I recently had the good fortune to meet with one such organization, the Museum of the Shenandoah Valley, who took this route.
The Museum of the Shenandoah Valley (MSV) was created in 2005 with a two-fold mission: To house the fine and decorative arts collections of Julian Glass Jr., whose ancestral estate the MSV is built on, and to collect and share the arts and culture of the Shenandoah Valley. The Museum came about after Glass designated in his will that his family estate, Glen Burnie, become a historic house museum after his death. Glen Burnie opened to the public in 1997 and the house and museum were moderately successful, seeing about thirty thousand visitors a year in 2013. But the MSV seemed unable to grow their visitorship beyond that point and had the all too common experience of small museums where the same group of people was constantly engaged with the site, with little interaction with the larger community.
Executive Director Dana Hand Evans, who came on board around that time saw the potential of the site and set out to bring more people into the MSV. They entered into a phase of strategic planning and created a ten year Master Plan to shape the MSV into a “cultural park” for the town of Winchester, VA and the Valley beyond. Evans made a series of curatorial, programmatic, and financial decisions that resulted in big changes and an uptick in local engagement with the museum.
Some of these decisions were small, but made the MSV more welcoming. They opened up their spaces to local organizations for meetings and other events at no charge. Suddenly the local college had access to an offsite space with a piano they could hold concerts in, and local non-profits didn’t need to search for meeting space, and lines of dialogue were opening up. At the same time, the MSV made the choice to stop pursuing grant opportunities that were open to social services. The Shenandoah Valley is a relatively poor area, with the majority of the students in the public school system eligible for free or reduced lunch. In reducing competition for funding for needed services, the MSV signaled to the community that they wanted to help build the people of the Valley up, not just preserve the memory of the people who lived there in the past.
A bigger change was to completely revise the interpretive experience of Glen Burnie, their historic house museum. Previously, the house had been a traditional historic house, with roped-off rooms displaying beautiful objects but with little context about who actually lived in the house. The house needed structural work and they had obtained an NEH grant to remove the contents of the house, do repairs, then reinstall it exactly as it had been before. However, Evans saw an opportunity to do more than maintain the status quo. The MSV undertook a series of listening sessions with community leaders, organizations, teachers, and more to hear their concerns and interests for the site, and to discuss ways to bring more people into the house. Evans and the MSV returned the NEH grant which did not allow for interpretive changes to be made, and sought alternative funding for a new interpretation that featured Julian Glass, Jr. and R. Lee Taylor as central figures in the house, giving visitors a peek into the mid-century life of two gay men who preserved and restored the house and gardens, filled it with fine decorative arts and furniture, and turned it into a social gathering place for their extensive group of friends and family.
Glen Burnie’s new welcome panel, featuring snapshots from Glass and Taylor’s personal collection.
Building on the success of that risk, Evans and the MSV have taken many more steps to build stronger bonds between the museum and the larger community. Local artists are now displayed in a small gallery, and a cafe was turned into a makerspace that offers classes and workshops to the public. Other arts education spaces have also been constructed. Seeking a way to expand use of their considerable grounds, the MSV recently completed fundraising to add three miles of walking and biking trails that will connect them to the larger Winchester Green Circle Trail and expand recreational space access for the community. And a new event oval is currently under construction, allowing the MSV to grow a small annual concert into a concert series that brings in thousands of visitors each summer.
In all, the MSV has doubled its visitorship in the past six years, bringing in over seventy thousand visitors in 2018. It has taken a lot of work, fundraising, and communication, but the MSV is in a better position now that they have devoted themselves to creating and strengthening their community connections. For any smaller organizations out there wondering how to create their own sustainable futures, looking at the MSV’s philosophy may be the key.
Curatorial Innovations Lecture. Free and Open to the Public.
Menschel Hall, Harvard Art Museums, 32 Quincy Street
Wednesday, April 17, 6:00 pm
Matthew Coolidge, Director, Center for Land Use Interpretation
The Center for Land Use Interpretation explores how land in the United States is apportioned, utilized, and perceived. Through exhibitions and public programs, the Center interprets built landscapes—from landfills and urban waterfalls to artificial lakes—as cultural artifacts that help define contemporary American life and culture. Coolidge will discuss the Center’s approach to finding meaning in the intentional and incidental forms we create and also talk about the Center’s efforts to develop the American Land Museum, a curated selection of locations across the country that exemplifies our relationship with the American landscape.
Matthew Coolidge is Founder and Director of the Center for Land Use Interpretation (CLUI) in Los Angeles, a non-profit research and education organization founded in 1994 that is interested in understanding the nature and extent of human interaction with the earth’s surface, and in finding new meanings in the intentional and incidental forms that we individually and collectively create. He has a background in contemporary art, architecture, and film, and studied environmental science as an undergraduate at Boston University. He has been a teacher in the Curatorial Practice Program at the California College of Art, and has lectured and worked with students at universities around the U.S. and abroad.
