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A Report on Best Practices in University-Affiliated Historic House

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A Report on Best Practices in University-Affiliated Historic House University-affiliated Historic House Museums A report prepared for the 1772 Foundation by Hillary Brady, Steven Lubar and Rebecca Soules July 2014 Overview This report considers the challenges and opportunities university­affiliated historic house museums face, offering suggestions for new ways to make these museums more useful to the university community. It includes a survey of existing practice, an analysis of recent innovations in the related areas of university art and anthropology museums and of historic house museums more generally, and an overview of other uses for historic houses on university campuses. We thank the 1772 Foundation for its support of this project. Because of the historic connections of the 1772 Foundation with the Liberty Hall Museum, on the campus of Kean University, Union, NJ, we have included several suggestions to begin a conversation about the future of that museum. Our thanks also to the staff at the university historic house museums we spoke with, and to the staff and board members at the Liberty Hall Museum. Many universities have museums. The Association of Academic Museums and Galleries lists hundreds of such museums, mostly museums of art, anthropology, and natural history. A much smaller number have history museums, and a smaller number still have historic house museums. This report provides information on these historic house museums, with an emphasis on the academic and financial relationships of the museum and the university. It is based on phone and email interviews with directors and curators of the historic house museums at eight universities (a total of ten museums), completed between October and December 2013. University historic house museums are ripe for reinvention, at the intersection of two significant revolutions in museum practice: 1 1. Many universities are rethinking the relationship of their museums to the mission of the university. The past decade has seen a new interest in material and visual culture in a wide variety of academic disciplines, and a significant increase in faculty and student use of museums in education and research.. 2. Many historic house museums, struggling with an aging and declining visitorship and high maintenance costs, are rethinking their mission. How might they better appeal to a larger audience? What better uses might a historic building be put to, rather than telling the story of its early owners, or the decorative arts, material culture and architecture of its era? University­affiliated history museums, for the most part, have not changed as much as their art museum counterparts, and have lagged behind the most forward­thinking of non­university house museums. This report builds on the interviews, and recent changes in university art museums and historic house museums, to suggest some new directions for university historic house museums. Recent Trends University historic house museums, generally sleepy places, are poised for change. University art museums and anthropology museums have rediscovered their educational roots, and are working hard to attract students and faculty back to the museum. Historic house museums are rethinking traditional modes of presentation to reach new audiences and to connect with the community. University historic house museums are uniquely positioned to benefit from both of these trends. Historic house museums Historic house museums have a long history, dating back to the preservation of Mt. Vernon as a monument to George Washington in 1858. Today, there are an estimated 8­15,000 historic house museums. Most are very small: more than half of American historic house museums receive less than five thousand visitors each year, have annual operating budgets of less than $50,000, and have no professional staff. Historic house museums are in crisis. Their audiences are shrinking as younger visitors find them dull and unfriendly. Their capital costs are high; old buildings need expensive repairs. There are simply too many of them. They’re too easy to open, too difficult to shut down. While museums in general are doing well, a recent article in the Economist reported, “historic houses and history museums are less popular than they used to be.”1 1 Fiammetta Rocco, “Temples of delight,” The Economist, Dec. 21, 2013, http://j.mp/JQ5YzD 2 Over the past decade leaders in local history have begun to address this crisis. Two conferences held at the Kykuit estate in 2002 and 2007, significant work by the Pew Center for Arts and Heritage, and strong guidance from funding agencies including the Institute for Museum and Library Services, the National Endowment for the Humanities, and the 1772 Foundation have moved many historic house museums to reconsider their missions.2 They’ve been urged to merge, diversify, or sell, to think about how to reach new audiences or to consider repurposing the house for other ends.3 University art museums Many universities are increasingly eager to promote interdisciplinary inquiry and offer students out­of­the­classroom intellectual experiences. That, combined with a new interest in material and visual culture in many fields, has led to the rediscovery of the university museum as an important part of a university’s curriculum. University art museums have taken the lead in reconnecting to teaching and research. The Andrew W. Mellon Foundation is largely responsible for this, offering many large grants to university art museums to support staff dedicated to this mission.4 Many of these museums had focused on a general audiences, simply becoming the community’s art museum, or had become their own academic fiefdom. They had ignored the needs of teachers and students. But in the past decade, that has changed in significant ways. Renovations at many museums ­ the Yale University Art Gallery is the best example ­ have provided space for classrooms in galleries and collections spaces. Gallery space has been set aside for art linked to course syllabi, and, in some cases, for faculty and students to curate. Many museums have added staff with titles like “Curator of Education and Academic Affairs” and “Curator of Academic Programs.” 5 This has extended beyond art museums. For example, Brown University’s Haffenreffer Museum of Anthropology established its CultureLab in 2012 to provide a space for faculty to teach with artifacts. The goal of the new space was to make artifacts available for class assignments and 2 Jay D. Vogt, “The Kykuit II Summit: The Sustainability of Historic Sites,” History News, Autumn 2007, pp. 17­21. http://download.aaslh.org/history+news/VogtHNSmr07.pdf 3 Julia Halperin, “Time is running out for America's historic houses,” The Art Newspaper 5 December 2013 http://www.theartnewspaper.com/articles/Time­is­running­out­for­Americas­historic­houses/31216 . 4 See Marion M. Goethals and Suzannah Fabing, “College and University Art Museum Program,” Andrew W. Mellon Foundation, November 2007. http://mac.mellon.org/CUAM/cuam_report.pdf and Stefanie S. Jandl, “The Mellon Foundation: Transforming College and University Art Museums in the U.S.,” in Stefanie S. Jandl and Mark S. Gold, eds, A Handbook for Academic Museums: Beyond Exhibitions and Education (Edinburgh and Boston: MuseumsEtc, 2012. 5 The Kress Foundation has explored factors for success in these museums: see Corrine Glesne, The Exemplary Museum ­ Art and Academia (Edinburgh and Boston: MuseumsEtc, 2012), and at http://www.kressfoundation.org/research/Default.aspx?id=35388. See also a Kress sponsored University of Chicago Cultural Policy Center report: Campus Art Museums in the 21st Century: A Conversation http://culturalpolicy.uchicago.edu/campusartmuseums/campusartmuseumsreport.pdf 3 for hands­on student and faculty work. A postdoctoral fellow, based on the Mellon model, was added to the staff, and given responsibility to work with faculty and students. The result has been a much closer linkage of museum and university.6 A few university museums have gone further. Declaring themselves “teaching museums,” they have focused entirely on student/faculty work. The Tang Teaching Museum at Skidmore College is the best example. It “invites curiosity and collaborative learning through active engagement with ideas, artworks, and exhibitions…. Critical to this end are direct experiential opportunities for Skidmore students to participate in integral aspects of museum practice.” Written into its mission is to “Promote active use of the museum by the college community ” and to “Foster dialogue between academic disciplines .” The past decade’s changes in historic house museums and university museums suggest some possible paths for new directions for university­affiliated historic house museums. Suggested best practices for university historic house museums Our survey found a wide variety of organizational, financial arrangements for university historic house museums, as well as a wide variety of approaches to university teaching and research. We have tried to pull from these conversations, and from successes and failures in other university museums, some best practices. These will, of course, vary from place to place. Governance and Organizational Structure University­affiliated museums often have a complex governance structure ­ which can result in confusion and complications over issues of control, fund­raising, ownership of collections, and mission. Museums and their universities do not always have the same mission, and museums that are parts of universities do not have a board that is looking out only for the museum’s interest. The challenges of the university/museum combination have been in the news of late, as some universities have tried to solve financial woes by selling museum collections.7 University museums have diverse systems of governance. The simplest, of course, if for the museum to be just a part of a university, like a university department or center. But there is much to be gained with an external board, for fund­raising, for collections, for general advice, and for 6 Steven Lubar and Emily Stokes­Rees, “From Collections to Curriculum: New Approaches to Teaching and Learning,” in Stefanie S. Jandl and Mark S.
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