IMLS Narrative
IMLS Application Coversheet (ME-245604-OMS) Museums Empowered
PROJECT DIRECTOR GRANT ADMINISTRATOR Ms. Anne Kraybill Ms. Daria Jarani The Richard M. Scaife Director/CEO 221 North Main Street 221 North Main Street Greensburg, PA 15601-1808 Greensburg, PA 15601-1808 Email: [email protected] Email: [email protected] Phone: 7248371500 x117 Phone: 7248371818
LEGAL APPLICANT The Westmoreland Museum of American Art Greensburg, PA 15601-1808
APPLICATION INFORMATION Project Title The Westmoreland Interpretive Planning Initiative
Grant period From 10-01-2020 to 09-30-2022 Project Description The Westmoreland Interpretive Planning Initiative is a series of professional development training sessions for Museum staff that will result in the implementation of a visitor centered and culturally responsive interpretive planning process.
FUNDING REQUEST INDIRECT COSTS IMLS funds $228973.00 Rate (de minimis): 10% Cost share/Match $301502.00 Total project costs $530475.00
AUTHORIZING OFFICIAL Ms. Anne Kraybill The Richard M. Scaife Director/CEO Email: [email protected] Phone: 7248371818 OMB Number: 4040-0003 Expiration Date: 02/28/2022 APPLICATION FOR FEDERAL DOMESTIC ASSISTANCE - Short Organizational * 1. NAME OF FEDERAL AGENCY: Institute of Museum and Library Services 2. CATALOG OF FEDERAL DOMESTIC ASSISTANCE NUMBER: 45.301 CFDA TITLE: Museums for America
* 3. DATE RECEIVED: 11/15/2019 SYSTEM USE ONLY * 4. FUNDING OPPORTUNITY NUMBER: ME-FY20 * TITLE: Museums Empowered
5. APPLICANT INFORMATION * a. Legal Name: The Westmoreland Museum of American Art b. Address: * Street1: Street2: 221 North Main Street
* City: County/Parish: Greensburg Westmoreland * State: Province: PA: Pennsylvania * Country: * Zip/Postal Code: USA: UNITED STATES 15601-1808 c. Web Address: http:// http://thewestmoreland.org * d. Type of Applicant: Select Applicant Type Code(s): * e. Employer/Taxpayer Identification Number (EIN/TIN): M: Nonprofit with 501C3 IRS Status (Other than Instit 251014553 Type of Applicant: * f. Organizational DUNS:
Type of Applicant: 1394387660000 * g. Congressional District of Applicant:
* Other (specify): 14
6. PROJECT INFORMATION * a. Project Title: The Westmoreland Interpretive Planning Initiative
* b. Project Description:
The Westmoreland Interpretive Planning Initiative is a series of professional development training sessions for Museum staff that will result in the implementation of a visitor centered and culturally responsive interpretive planning process.
c. Proposed Project: * Start Date: * End Date: 10/01/2020 09/30/2022
Tracking Number:GRANT12972345 Funding Opportunity Number:ME-FY20 Received Date:Nov 15, 2019 12:08:22 PM EST APPLICATION FOR FEDERAL DOMESTIC ASSISTANCE - Short Organizational
7. PROJECT DIRECTOR Prefix: * First Name: Middle Name:
Ms. Anne
* Last Name: Suffix:
Kraybill
* Title: * Email:
The Richard M. Scaife Director/CEO [email protected]
* Telephone Number: Fax Number:
7248371818 * Street1: Street2:
221 North Main Street
* City: County/Parish:
Greensburg Westmoreland * State: Province:
PA: Pennsylvania * Country: * Zip/Postal Code:
USA: UNITED STATES 15601-1808 8. PRIMARY CONTACT/GRANTS ADMINISTRATOR
Same as Project Director (skip to item 9):
Prefix: * First Name: Middle Name: Ms. Daria
* Last Name: Suffix:
Jarani
* Title: * Email:
Membership & Grants Manager [email protected]
* Telephone Number: Fax Number:
7248371500 x117 * Street1: Street2:
221 North Main Street
* City: County/Parish: Greensburg Westmoreland * State: Province:
PA: Pennsylvania * Country: * Zip/Postal Code:
USA: UNITED STATES 15601-1808
Tracking Number:GRANT12972345 Funding Opportunity Number:ME-FY20 Received Date:Nov 15, 2019 12:08:22 PM EST APPLICATION FOR FEDERAL DOMESTIC ASSISTANCE - Short Organizational 9. * By signing this application, I certify (1) to the statements contained in the list of certifications** and (2) that the statements herein are true, complete and accurate to the best of my knowledge. I also provide the required assurances** and agree to comply with any resulting terms if I accept an award. I am aware that any false, fictitious, or fraudulent statements or claims may subject me to criminal, civil, or administrative penalties (U.S. Code, Title 218, Section 1001)
** I Agree ** The list of certifications and assurances, or an internet site where you may obtain this list, is contained in the announcement or agency specific instructions.
AUTHORIZED REPRESENTATIVE Prefix: * First Name: Middle Name:
Ms. Anne
* Last Name: Suffix:
Kraybill
* Title: * Email:
The Richard M. Scaife Director/CEO [email protected]
* Telephone Number: Fax Number:
7248371818 * Signature of Authorized Representative: * Date Signed: Rhonda Madden 11/15/2019
Tracking Number:GRANT12972345 Funding Opportunity Number:ME-FY20 Received Date:Nov 15, 2019 12:08:22 PM EST OMB Number: 3137-0092 Expiration Date: 08/31/2021 IMLS Supplementary Information Form
PLEASE NOTE: Information contained within this form may be made publicly available.
Applicant Information
The organizational unit performing the activities described in the application Yes No is the same as the legal applicant from the SF-424 Short Organizational form.
Select the institution type that most accurately describes the legal applicant: Art Museum
Funding Request
IMLS funds requested 228,973.00
Cost share/match amount* 301,502.00
Total costs 530,475.00
* Enter $0 if the budget includes no cost share or match.
Indirect Costs
Current indirect cost rate(s) have been negotiated with a federal agency. Select from list: Rate: Expiration Date:
Indirect cost proposal has been submitted to a federal agency but not yet finalized. Select from list: Rate: Proposal Date:
Applicant chooses a rate not to exceed 10% of modified total direct costs, and declares it is eligible for the 10% rate.
Applicant chooses not to include indirect costs.
Tracking Number:GRANT12972345 Funding Opportunity Number:ME-FY20 Received Date:Nov 15, 2019 12:08:22 PM EST Population(s) Served
Select the target population(s) to be served by the activities described in the application. Choose all that apply. General population Museum and/or library professionals Early childhood/Preschool (0-5 years) Native Americans/Alaska natives/ Middle childhood/Primary school (6-12 years) Native Hawaiians Adolescents/High school (13-19 years) People with mental or physical challenges/ disabilities Adults People who are low income/economically Aging, elderly, senior citizens (65+ years) disadvantaged Ethnic or racial minority populations other than Rural populations Native American/Native Hawaiians Scholars/researchers Families/Intergenerational Unemployed Immigrants/refugees Urban populations Military families Other
Tracking Number:GRANT12972345 Funding Opportunity Number:ME-FY20 Received Date:Nov 15, 2019 12:08:22 PM EST Abstract
Enter or paste your abstract below (maximum 3000 characters).
PLEASE NOTE: Information contained within this form may be made publicly available.
The Westmoreland Museum of American Art proposes to research, develop, implement, and sustain a two-year professional development initiative to build institutional capacity around a comprehensive interpretive planning process for its permanent and temporary exhibitions in order to strengthen staff resources to serve a more diverse audience. The Westmoreland Interpretive Planning Initiative is a series of professional development training sessions for Museum staff that will result in the implementation of a visitor centered and culturally responsive interpretive planning process. The professional development training sessions will be led by Judith Koke, MMst, Director of Professional Learning at the Institute of Learning Innovation. The project will be implemented over a two-year period beginning October 1, 2020 and ending September 30, 2022. The first year will focus primarily on professional development workshops with the core team and with the departments who closely interact with visitors on a daily basis (curatorial, education, visitor services). The goal for year one is to produce basic descriptive reports of participants’ responses to end-of-workshop surveys and to consolidate those responses into summative key findings that will inform the next year’s activities. Year Two involves implementing the new experience process, beginning with a one-day workshop with curators and educators. The next step this year will be to plan a current exhibition or reinstallation to model the concepts taught through the introductory workshops and begin to implement the interpretive planning model in the daily operations of the Museum. The direct beneficiaries for this project will be Museum staff including the Curatorial Team, Marketing Team, Education & Visitor Engagement Team, Visitor Experience Team (made up of front desk and gallery hosts/security), and Administration Teams, as well as volunteers, and the Board of Trustees. The Westmoreland Interpretive Planning Initiative aims to fulfill three goals: 1. Staff will have the knowledge and skills to successfully conduct culturally responsive and visitor-centered interpretive planning processes that inform marketing, guest services, programming, and didactics/interactives. 2. Our current visitors will be exposed to new perspectives and lived experiences through their encounters with art and programming. 3. We will reach new and diverse audiences as a result of our formative evaluation and community partnerships and by diversifying our exhibition program, collections, and interpretation. The project will culminate with a cross-departmental team that is trained in the best practices of creating culturally responsive and visitor centered approach to interpretive planning. This will result in the reinterpretation of several permanent collection galleries over the two-year period so staff can employ their learnings as well as interpretive planning for a diverse slate of temporary exhibitions.
Tracking Number:GRANT12972345 Funding Opportunity Number:ME-FY20 Received Date:Nov 15, 2019 12:08:22 PM EST OMB Number: 3137-0092 Expiration Date: 08/31/2021
IMLS MUSEUM PROGRAM INFORMATION FORM
PLEASE NOTE: Information contained within this form may be published online or otherwise shared by IMLS; therefore, please do not include any sensitive, proprietary, or confidential information.
Section 1. Organizational Financial Information
a. Please complete the following table for the Organizational Unit for the three most recently completed fiscal years.
Fiscal Year Total Revenue* Total Expenses** Surplus or Deficit
2017 2,318,000 2,498,000 -180,000
2018 2,666,000 2,451,433 214,567
2019 2,761,466 2,761,316 150
* For nonprofit tax filers, Total Revenue can be found on Line 12 of the IRS Form 990. ** For nonprofit tax filers, Total Expenses can be found on Line 18 of the IRS Form 990.
b. If you had a budget surplus or deficit greater than 10% of your annual operating budget for two or more of the three fiscal years listed above, please explain the circumstances of this surplus or deficit in the box below. N/A
c. Were there any material weaknesses identified in your prior year’s audit report?
Yes
No Not applicable
d. Has your organization had an A-133 audit in the past three years?
Yes
No
Tracking Number:GRANT12972345 Funding Opportunity Number:ME-FY20 Received Date:Nov 15, 2019 12:08:22 PM EST Section 2. Agency-Level Goals and Objectives
Select the IMLS agency-level goal that best aligns with your proposed project. Once you have selected a goal, please select an associated objective.
Promote Lifelong Learning
Build Capacity
Recruitment, Training, and Development of Library and Museum Workforces
Share and Adopt Best Practices and Innovations
Identify Trends to Help Organizations make Informed Decisions
Serve as Trusted Spaces for Community Engagement and Dialogue
Increase Public Access
Section 3. Grant Program
Refer to the Notice of Funding Opportunity for descriptions of these options and instructions for making selections.
Museums for America Museums Empowered Select one project category: Digital Technology Diversity and Inclusion
Evaluation
Organizational Management
Inspire! Grants for Small Museums National Leadership Grants for Museums Museum Grants for African American History and Culture Native American/Native Hawaiian Museum Services
Section 4. Museum Profile (Museum Applicants only)
a. Is your organization a public, tribal, or private nonprofit agency or institution? Yes
No
Tracking Number:GRANT12972345 Funding Opportunity Number:ME-FY20 Received Date:Nov 15, 2019 12:08:22 PM EST b. Is your organization organized on a permanent basis for essentially educational, cultural heritage, or aesthetic purposes? Yes
No
c. Does your organization own or utilize tangible objects and care for such tangible objects? Yes No
d. Does your organization exhibit the tangible objects to the general public in a facility that you own or operate?
Yes No
e. What was your institution’s attendance for the 12-month period prior to the application?
Fewer than 1,000 1,000 - 9,999 10,000 - 99,999 100,000 - 999,999 1,000,000 - 9,999,999 10,000,000 +
f. How many days was your institution open to the public during these 12 months? 0 - 119 120 - 249 250 - 365
g. Does your organization use a professional staff (i.e., does your organization employ at least one staff member, or the full-time equivalent, whether paid or unpaid, primarily engaged in the acquisition, care, or exhibition to the public of objects owned or used by the organization)? Yes No
h. Number of full-time paid institutional staff: 0
1 2 3 4 - 10 11 - 50 51+
Tracking Number:GRANT12972345 Funding Opportunity Number:ME-FY20 Received Date:Nov 15, 2019 12:08:22 PM EST i. Number of full-time unpaid institutional staff: 0 1 2 3 4 - 10 11 - 50 51+
j. Number of part-time paid institutional staff: 0 1 2 3 4 - 10 11 - 50 51+
k. Number of part-time unpaid institutional staff: 0 1 2 3 4 - 10 11 - 50 51+
Tracking Number:GRANT12972345 Funding Opportunity Number:ME-FY20 Received Date:Nov 15, 2019 12:08:22 PM EST The mission of The Westmoreland Museum of American Art is to offer a place to share compelling and meaningful cultural experiences that open the door to new ideas, perspectives and possibilities. Our vision is that we imagine a world in which everyone feels valued and represented. This mission and vision was approved by the Board of Trustees on January 22, 2019. The Westmoreland primarily serves the City of Greensburg, and Westmoreland County (population 350,611). Demographics of Westmoreland County: White alone – 94.8% Black or African American alone – 2.6% American Indian and Alaska Native alone – 0.1% Asian alone – 1.3% Native Hawaiian and Other Pacific Islander alone – 0.0% Two or More Races – 1.5% Hispanic or Latino (of any race) – 1.2% White alone, Not Hispanic or Latino – 93.8% For nearly 60 years, The Westmoreland has told the unique and varied stories of this country through an extraordinary permanent collection of art and a dynamic changing exhibition schedule, as well as a wide variety of educational programs for children and adults. The Museum was established at the bequest of local resident Mary Marchand Woods, who was dedicated to providing the city with an important cultural institution. Since that time, the Museum has contributed to the economic vitality of Westmoreland County by bringing national and international attention to the artists and places of southwestern Pennsylvania. The Westmoreland’s extraordinary permanent collection is complemented by world-class traveling exhibitions that have drawn visitors from across the country. The Westmoreland’s ambitious two-year renovation and expansion project, beginning in 2013, resulted in a facility that has been well-received by both the community and architectural experts, specifically in winning the prestigious Chicago Athenaeum 2016 American Architecture Award that celebrates the best new buildings and public planning efforts designed and constructed by American architects in the United States. The Westmoreland's new design also won the 2016 Award of Honor issued by the Society of American Registered Architects New York Council and included in a “top 10” list by the Urban Land Institute of museum designs that are intentionally focused on being community-centric. The list also included the Design Museum in London, The National Museum of African American History and Culture, Washington D.C., and the Whitney Museum of American Art in New York City. Most importantly, the new building has provided an increased capacity for educational programming, exhibition installations, and public events to engage a greater audience. The Westmoreland has been accredited by the American Alliance of Museums (AAM) since 1972. A distinction in the museum field, the AAM accreditation offers a high profile peer-based validation of museum operations and excellence. With an extraordinary permanent collection that places it among the best of museums of American art in the country, The Westmoreland highlights artwork by luminaries such as Mary Cassatt, John Singer Sargent, Winslow Homer, Louis Comfort Tiffany, and more. A special focus within the collection is paintings relating to southwestern Pennsylvania, placed within the context of the national American art scene. Landscape paintings by the 19th century, Pittsburgh-based Scalp Level School are complemented by the 20th century artists who depicted the City of Pittsburgh at the height of its steel making power as a phenomenon of America’s industrial might. Through these collections, The Westmoreland has brought national and international attention to the artists and places of southwestern Pennsylvania.
2019-2021 Strategic Plan Executive Summary In November 2018, David Mead from Ignite Leadership lead an institution wide workshop. The workshop was a “why discovery” that mined the staff for stories about when they felt proudest of the Westmoreland Museum of American Art and when they believed the institution was operating at its best. From those stories, several “why” statements were drafted. A small team of staff was nominated to continue to develop the why statement, culminating in the following: Mission: The Westmoreland Museum of American Art offers a place to share compelling and meaningful cultural experiences that open the door to new ideas, perspectives, and possibilities.
Vision: We imagine a world in which everyone feels valued and represented.
This collaboratively developed statement unites the staff around our institutional “why.” This has informed out future direction so that we can always strive towards operating at our best with a clear sense of purpose. The following plan defines how we will achieve our why, and specifically, what we will do over the next three years. 2019-2021 Strategic and Operational Plan – What We Will Do!
1. WE WELCOME AND INVITE EVERYONE: From the moment someone walks through the door, they are greeted warmly and inclusively. For those that have not yet walked through the door, we reach out and connect to extend an invitation.
To accomplish this, we: A. Establish partnerships with community organizations serving under-represented audiences so that we can create collaborative programs with, rather than for, the community. B. Deploy grassroots marketing to reach new audiences C. Support other organizations/communities in our community. D. Strive for inclusive hiring and retention practices. E. Provide a comprehensive customer service onboarding and ongoing training to all staff.
2. WE SHARE STORIES: Our collection and exhibitions have layers of meaning and context that people personally connect with, particularly regional artworks. We also recognize that our collection, and the history of American art, does not reflect everyone’s experience and work to address those gaps.
To accomplish this, we: A. Engage in a formative interpretation process that includes internal and external advisory groups and acknowledge underrepresented stories in American art and history. B. Diversify our collections. C. Leverage partnerships and loans to temporarily fill gaps in our collection. D. Bring a diversity of narratives and media in our temporary exhibition program.
3. WE CHALLENGE, ENCOURAGE, PROVOKE THOUGHT, AND SPARK CURIOSITY: Our programs and interpretation provide an opportunity for guest feedback and participation. This not only inspires our guests, but informs our practice and inspires our organization. To accomplish this, we: A. We offer robust and diverse array of programming that meets people where they are from traditional lectures to alternative gallery tours to outdoor festivals. B. We provide dedicated spaces for people to create their own art and connect with each other. C. Provide opportunities for visitors to respond and connect to the art and exhibitions in the galleries. D. Exhibit art in new and refreshing ways including out-of-doors. E. Create ongoing conversations externally through marketing.
4. WE STRIVE TO HAVE POSITIVE IMPACT: We seek to provide understanding to issues facing our community, region, nation, and globe and take actionable steps to make change.
To accomplish this, we: A. Employ sustainable practices, such as solar power and composting, that minimize negative environmental impact. B. Support and celebrate marginalized and under-represented groups. C. Serve as a convener to discuss difficult and sometimes divisive issues.
5. WE ARE NIMBLE, PROACTIVE, AND OPEN TO NEW OPPORTUNITIES: We recognize that the world changes quickly. We are proactive to current events and possibilities that we cannot predict today.
To accomplish this, we: A. Keep in touch with other organizations planning and processes. B. Have a culture that encourages ongoing conversations about possibility. C. Recognize that this document is a living document.
Approved by the Board of Trustees on January 22, 2019. The Westmoreland Museum of American Art
I. Project Justification What need, problem, or challenge will your project address, and how was it identified? • Are others addressing this need? What other studies or best practices have you used in developing your project? The need for empowering and developing the staff of The Westmoreland Museum of American Art in a culturally responsive interpretive planning process is in response to the region’s revitalization efforts to welcome everyone. The Westmoreland Museum of American Art is located in Greensburg, Pennsylvania and is the county seat for Westmoreland County, about 35 miles east of Pittsburgh. While the neighboring City of Pittsburgh continually ranks in the top 10 most livable cities in the U.S. and has attracted new residents from across the globe, Greensburg has not shared this distinction. The closing of the steel industry in the 1980s resulted in a generational loss as adults left to find work in other metro areas, cutting the population of this once thriving community by half. This has led to a growing problem for the county as the size of our aging population will result in a net loss of new residents and a qualified workforce. As part of the Reimagining Our Westmoreland1 10-year County Comprehensive Plan, attracting new residents that are more reflective of the demographics of the nation to the community is a central focus to ensure a viable future, which requires a community that is welcoming and inclusive. The Westmoreland Museum of American Art has a critical role in supporting the creation of a welcoming community both by bringing new perspectives to our current visitors and residents and simultaneously connecting on a personal level with new residents and visitors. This is embodied in our new mission and vision that culminated after weeks of board, staff and volunteer participation and input. In early November 2018, the entire staff and board embarked on a new strategic planning process with David Mead from Ignite Leadership. Using stories of when the organization was operating at its best and most inclusive, the Museum wrote the following “Why” statement that serves as our new mission statement: Mission: The Westmoreland Museum of American Art offers a place to share compelling and meaningful cultural experiences that open the door to new ideas, perspectives, and possibilities. Vision: We imagine a world in which everyone feels valued and represented. In an effort to fulfill this new mission and vision, The Westmoreland has established a new strategic plan that includes diversifying our collections and exhibitions, partnering with the community to reach new audiences, and an interpretive planning process that engages the community in formative evaluation to anticipate audience needs particularly around subjects that may be less familiar. Notably, the strategic goal to invest in staff through re-invigorated professional development recognizes the necessity of building stronger internal staffing capacity to advance these diversity and inclusion initiatives. This need for professional development to ensure a systematic method to implement a visitor centered and culturally responsive interpretive planning process is in direct response to feedback given during the strategic planning process from front-line to senior staff, and is supported as a strategic initiative by the Board of Trustees. There have been recent efforts to engage the community in formative evaluation. In October 2019, Juli Goss, Director of Audience Research and Evaluation at Crystal Bridges Museum of American Art facilitated three focus groups (staff, LatinX community, and members/patrons) in preparation for the temporary exhibition Border Cantos: Sonic Borders. Findings from the focus groups have informed interpretation needs, marketing messages, programs, and community partners around issues that can be divisive. Staff participation in these pilots has been active and enthusiastic resulting in not just a readiness for change, but an excitement for change, and a growing demand for professional development to build internal capacity to implement a culturally responsive interpretive planning process systematically and successfully.
1 https://www.co.westmoreland.pa.us/654/Comprehensive-Plan (strategy 2.3) 1
The Westmoreland Museum of American Art
Project Beneficiaries: The direct beneficiaries for this project will be Museum staff including the Curatorial Team, Marketing Team, Education & Visitor Engagement Team, Visitor Experience Team (made up of front desk and gallery hosts/security), and Administration Team, as well as volunteers, and the Board of Trustees, resulting in systemic organizational change. The training will include core staff from the teams listed above, and will include Anne Kraybill, Director/CEO. The Board will be brought into the process with a presentation facilitated by Judith Koke, MMst, Director of Professional Learning at the Institute of Learning Innovation (ILI). The secondary beneficiaries for this project are the Museum’s visitors and community partners who will have the opportunity to be exposed to a diversity of artists, lived experiences, and perspectives.
Advancing Institutional Strategic Plan: Following the Start with Why workshop, the staff and board generated five strategic initiatives: 1. WE WELCOME AND INVITE EVERYONE: From the moment someone walks through the door, they are greeted warmly and inclusively. For those that have not yet walked through the door, we reach out and connect to extend an invitation. 2. WE SHARE STORIES: Our collection and exhibitions have layers of meaning and context that people personally connect with, particularly regional artworks. We also recognize that our collection, and the history of American art, does not reflect everyone’s experience and work to address those gaps. 3. WE CHALLENGE, ENCOURAGE, PROVOKE THOUGHT, AND SPARK CURIOSITY: Our programs and interpretation provide an opportunity for guest feedback and participation. This not only inspires our guests, but informs our practice and inspires our organization. 4. WE STRIVE TO HAVE POSITIVE IMPACT: We seek to provide understanding to issues facing our community, region, nation, and globe and take actionable steps to make change. 5. WE ARE COMMITTED TO FINANCIAL, PHILANTHROPIC AND OPERATIONAL EXCELLENCE: Our practices ensure sustainability for future generations. 6. WE ARE NIMBLE, PROACTIVE, AND OPEN TO NEW OPPORTUNITIES: We recognize that the world changes quickly. We are proactive to current events and possibilities that we cannot predict today.
Each of these initiatives have interpretation outputs embedded within and professional development is explicitly a part of strategic initiative 5.
Advancing IMLS Museums Empowered Initiative Goals: This project aligns with the IMLS goal of Diversity and Inclusion: for museum staff to develop cultural competency and support museum relevancy in their communities. As a museum of American art, we have a role to play in expanding traditional definitions of what it means to be American, and we have a responsibility to foster constructive dialogue around relevant topics—some of which may be difficult. Our goal is three-fold: (1) Staff will have the knowledge and skills to successfully conduct culturally responsive and visitor-centered interpretive planning processes that inform marketing, guest services, programming, and didactics/interactives. (2) Our current visitors will be exposed to new perspectives and lived experiences through their encounters with art and programming. (3) We will reach new and diverse audiences as a result of our formative evaluation and community partnerships and by diversifying our exhibition program, collections, and interpretation. To achieve our goals, our project invests in cross-department training of staff over a two-year period of time that will provide sustained learnings and result in opportunities for implementation as we reinstall permanent collection galleries and bring in a diversity of temporary exhibitions. This proposal is just one initiative in our 2
The Westmoreland Museum of American Art strategic plan that addresses diversity and inclusion. Strategic recruitment and governance goals led by the Board of Trustees also reflect a leadership commitment to improving diversity so that this will be a holistic endeavor.
2. Project work plan
Activities: The project will be implemented over a two-year period beginning October 1, 2020 and ending September 30, 2022. Project activities will occur in the sequence detailed below; also see Schedule of Completion. Judith Koke, MMst, Director of Professional Learning at the Institute of Learning Innovation (ILI) will utilize her strong audience research and museum management background to develop and implement this highly participatory professional learning (PL) program for Museum staff. Koke has over 10 years as an Instructor in graduate museum studies programs (University of Toronto, George Washington University, University of Colorado) where she has taught Interpretation and Meaning Making, Introduction to Visitor Research, Museums and Their Publics, and Museum Management). These materials will be adapted for use with experienced museum staff and The Westmoreland’s unique needs as an organization.
The learning goal of the Professional Learning program is to build the Museum staff’s capacity to perform and understand audience and visitor research, to understand the current state of knowledge about art museum visitors and to integrate those new skills and understandings into how they shape the visitor experience. To achieve this, the Professional Learning program will be: Sustained - occurring over two years to support transformative learning and practice; Supported – led by a third party to keep momentum, hold accountability, and contribute learning resources and activities; Collaborative– given The Westmoreland’s new vision and priorities, their experience with their current audience and community, and based on introduced visitor research and best practices, we will together interrogate and collaborate the philosophies, processes and knowledge that inform our work.
The experience will be designed with in person and online (both synchronous and asynchronous) sessions. The content of the online monthly sessions will be strongly shaped by the questions raised by Museum staff. The online work will involve readings and mini-assignments, such as critical appraisals of visitor research and current visitor experiences. The in-person work will support significant discussions with key staff about practice and process decisions, as well as sessions to incorporate other staff and volunteers into the momentum. The emphasis on this transformative learning and organizational change will be supported by adding performance indicators to individual’s performance reviews to demonstrate that participation and collaboration in this effort is an institutional priority.
The project will culminate with a cross-departmental team that is trained in the best practices of creating culturally responsive and visitor centered approach to interpretive planning. This will result in the reinterpretation of several permanent collection galleries over the two-year period so staff can employ their learnings in executing interpretive planning for a diverse slate of temporary exhibitions.
Project Risks and Maturity: The Westmoreland staff is small and while there is excitement among our staff and Board for this professional development opportunity, honing time management skills will be crucial to minimizing workload strain. As the staff experience how this planning process builds efficiencies by aligning goals across departments, the risk will be mitigated. In addition, Koke has built in many mechanisms for feedback and sharing concerns through the use of online training. The staff have already demonstrated a desire to take the pilots they have done in collaborative planning and audience focus groups for Border Cantos: Sonic Borders and scale the work across the institution systematically.
3
The Westmoreland Museum of American Art
Project Management, Perspectives, and Collaborations: The project will be overseen by Anne Kraybill, The Richard M. Scaife Director/CEO with project management support by Ashley Bailey, Executive Assistant. Additional staff that will implement the project are: Joan McGarry, Director of Education and Engagement; Barbara Jones, Chief Curator; Doug Evans, Collections Manager; Randall Oaks, Director of Visitor Experience and Events; and Claire Ertl, Director of Marketing and Public Relations. These four departments all have touchpoints with our guests and the public, but in the past very little professional development investment was made to improve each departments capacity to serve our public collectively. In addition, Rhonda Madden, Director of Advancement will monitor performance and advancement of collective strategic goals and Daria Jarani, Membership & Grants Manager will manage project reporting. Bringing these leaders and their teams together will allow for a variety of perspectives and experiences to inform the interpretive planning process, resulting in an end product that has greater impact upon our visitors.
When and in what sequence will your activities occur? Year One Activities (October 1, 2020 – September 30, 2021): 1. Presentation to the Board – What do we know about why people do (and do not) visit art museums? How is visitor research informing new practices? What is the changing role of the museum in its community? 2. Two 2-day workshops with curators, educators, guest services and marketing to review the history of Visitor Research and some examples of how it can be applied, a review of current audience data specific to The Westmoreland (who are our visitors, what are we collecting and what should we collect?), an introduction to key visitor research techniques, and the integration of the findings to inform practice. 3. Two-day workshop on Interpretive Planning in Art Museums for curators and education staff to consider new practices in experience development and visitor centeredness with an emphasis on how to engage visitors in difficult or unfamiliar topics. (Introduction to Interpretive Planning, strategies to increase engagement, community participation, etc.) 4. Presentation to front line staff and volunteers supporting visitors’ motivations and needs. 5. Monthly video meetings with core team to support new skills and ongoing visitor research, critical reflection on progress to date, and to review visitor research instruments and support data analysis and report writing. 6. Docent training – work with responsible education staff to plan and implement a docent training program that underscores how individuals learn in free choice learning environments (constructivism, family learning, millennials, etc.) 7. Research trips to Columbus Museum of Art and Detroit Institute of Art, both of which are known for strong interpretation programs.
Year Two Activities (October 1, 2021 – September 30, 2022) 1. One-day workshop with curators and educators to formalize the adoption of the new experience design process, roles and success metrics 2. Two-day workshop of a current exhibition or reinstallation to model visitor input and prototyping, including gallery walkthrough to identify areas where participation might work effectively – and an opportunity imagine what those interactives might look like. 3. Continued support of frontline staff, volunteer and docent training to achieve desired results. 4. Continued Monthly Video meetings and assignments to focus on specific audiences, to consider the needs of the museum’s community and to support transformative change.
Throughout both years, Museum staff will put their professional development into practice in the exhibition planning process by conducting audience focus groups, timing and tracking studies, prototyping labels and hands-on engagement, and collaboratively programming and marketing with the community. There may also be digital initiatives, but that will be determined as a part of the interpretive planning process. All of the trainings will include cultural competency and sensitivity as a learning throughline.
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The Westmoreland Museum of American Art
Project Resources: The Westmoreland respectfully requests $228,973 to support this initiative; the project budget totals $530,475. Grant funds would directly underwrite consulting fees and travel, supplies, materials, staff travel, evaluation costs, and some indirect costs. The Westmoreland will demonstrate its commitment to the project by providing cost share of $301,502. Please see the Budget and Budget justification for a detailed breakdown of expenditures.
Tracking Progress: As an experienced evaluator, Koke will continuously perform developmental evaluation to inform high quality delivery of the content mutually identified as critical. The team will collaboratively develop personal learning outcomes aligned with the goals of this project, to be approved by the Director/CEO.
In addition, Matt Sikora, Director of Evaluation and Planning at the Arts Education Collaborative, will serve as an independent researcher to conduct an evaluation of the professional development and the impact upon instituting real process change. The impact of the project will be examined at five levels (Gusky, 2002). Level 1 – participant reaction: How do staff members react to the training workshops and monthly meetings – particularly which learning experiences are believed to be most relevant and useful? Level 2 – participant learning: In what ways and to what extent do staff members’ attitudes about and understandings of art museum visitors, audience and visitor research, and visitor-centered practice change – particularly in relation to museum, department, and individual learning outcomes? Level 3 – organizational support: In what ways does the organization support or inhibit changes in visitor-centered practices among staff members? Level 4 – participant practice: In what ways do staff members’ practices change – particularly in support of the Museum’s mission, audience, and visitor-focused strategic initiatives? Level 5 – impact on visitors: How do visitor’s experiences with key areas of the museum’s programs and services – such as exhibitions, tours, and visitor services – change? (Note: While a full investigation of this question is outside the scope of the current project, the evaluation is designed to establish a foundation for future work. Staff will be asked to identify “pockets of promise,” areas in which they believe changes may be positively influencing visitors’ experiences; there is also an option to conduct visitor studies at the start of the project to gather baseline data, which can then be compared against studies conducted one to two years following the conclusion of the project.)
The methods for the evaluation include observations conducted during one day of each two-day workshop and end-of-session surveys will be administered to participants following each workshop and select video meetings. Participant surveys and Participant Mind Maps will be administered to the core team at the beginning, middle, and end of the project to measure changes in staff members’ attitudes and understandings and perspectives on the organization’s readiness for innovation. Document analysis will be conducted to determine organizational support in written policies, procedures, and processes. Participant interviews will be conducted at the end of the project to capture perspectives and reflections on the project as a whole. The evaluation deliverables include: 8 descriptive reports of participants’ responses to end-of-session survey; a three-hour facilitated review of findings and discussion of next steps with core team; and a summative evaluation report exploring detailed findings and suggested next steps, with will incorporate reflections by core members.
Sharing Project Results: This approach to professional learning is unique and revolutionary. Despite all that research has taught us about how learning happens, professional development still tends to be episodic information updates “delivered” to “deficient” professionals in a didactic manner (Knight, Tait, & Yorke, 2006; Cevero, 2001). Evidence indicates that while they may support the acquisition of knowledge, many PD programs fail to result in sustainable changes in professional learning or enhanced practice (Borko, 2004;
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The Westmoreland Museum of American Art
Webster-Wright, 2009). The evidence-based consensus that has been developed by educational researchers suggests that effective Professional Learning is one in which the ‘learner’ is an equal participant, actively engaged in a Community of Inquiry that is related to their specific practice issues and is supported over sufficient time for learning to be transformative (Bruce, 2010; Fullan, 2007). The 2-year process of this project, combined with the summative evaluation, will provide an important case study. The learning from this project can be shared through industry related channels such as AAM or AAMD, publications such as Museum Educaiton Roundtable, but will also have interdisciplinary implications as all professions engage in professional development.
3. Project Results
What are your project’s intended results and how will they address the need, problem, or challenge you have identified? The intended results of this project are to develop the skills of staff across departments to implement a culturally competent interpretive planning process that: Builds staff knowledge and understanding around visitor research and interpretive planning. Creates a collaborative process across the institution. Develops a set of tools to conduct audience focus groups and audience evaluation to better understand current visitors and visitors we want to reach. Models inclusive decision-making as professionals serving in community roles and partnership efforts
In the permanent collection, this will result in new forms of exhibiting and interpreting a collection that is currently rooted in the Western canon to bring light to other perspectives that are not represented. We may juxtapose contemporary art with the 19th century works in our permanent collection to bring new context and relevance. We may have labels that are written by artists or community members. Throughout the galleries there will be hands-on activities to create new experiences and engagements with works of art. Whatever the outputs, we will conduct formative focus groups with the community (some general, some targeted) so that we can be sure their perspectives, questions, and critical thought is incorporated into the interpretation. As we continue to diversify our temporary exhibition program, we will apply the same audience centered approach.
How will the knowledge, skills, behaviors, and/or attitudes of the intended audience change as a result of your project? As stated in the project activities, each key staff participant will develop a set of personal learning outcomes in collaboration with Ms. Koke, for the Director’s approval. Generally, these will be aligned with changes in knowledge, skills and behaviors related to museum visitor research, the best practices in culturally competent art museum visitor-centered interpretation and experience design, and effective collaboration. Across the larger organization, all staff and volunteers will have a deeper understanding of the variety of motivations that cause individuals to participate in art museums, why the nonparticipating audience does not attend, and how their unique role in the organization can contribute to meeting the needs of the visitors and community revitalization.
How will the institution’s internal capacity be strengthened as a result of your project? As a small institution with very little financial resources dedicated to professional development and capacity building, this project will signal to staff the priority placed on investing in developing their knowledge and skills to directly contribute to the organization’s success in fulfilling its mission. This will ensure that although The Westmoreland is a small museum, it is still able to implement best practices and operate as an institution of excellence. There has never been a cross-departmental professional development program of this nature for the organization, so it will produce a shared vocabulary as well.
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The Westmoreland Museum of American Art
What tangible products will result from your project? The Westmoreland culturally responsive and visitor centered interpretive planning initiative will be integrated into the process of developing an exhibition (both permanent collection and temporary) interpretive planning process which includes marketing, programming, training, didactics, and interactives. A toolkit for visitor evaluation. Two annual reports measuring the impact of the program upon staff knowledge and skills. A white paper with Judith Koke, Matt Sikora, and Anne Kraybill that documents how to create and sustain this culture shift in a smaller cultural organization.
Sustainability The initiative will provide a cross-departmental team with the knowledge and skills needed to produce a visitor experience that is multi-faceted. Evaluation of the visitor experience will demonstrate that the staff’s efforts had a positive impact on the visitor experience. To sustain these efforts, we will present this project to our board, and major funders to continue to raise funds for ongoing visitor evaluation by the Arts Education Collaborative as a means to continually monitor, and hold accountable the institution’s efforts in the visitor experience. In addition, this initiative is a strategic priority that is supported from the top down and as importantly, from the bottom up, ensuring that it will become an integrated part of our culture.
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Westmoreland Interpretive Planning Initiative, Year One (October 1, 2020 – September 30, 2021)
Oct Nov Dec Jan Feb Mar Apr May Jun Jul Aug
Board Presentation x
2 Day Core Team Workshop x Establish priorities for visitor research x x Research Trip 1 of 2 (Columbus Museum of Art or x Detroit Institute of Art) Online learning exchange platform for Core Team x x x x x x x x x x established & continues Evaluation after Workshops and select online trainings x x x x x x x x x x
2 Day Interpretive Plan Workshop x x x
Plan and Implement Schedule of visitor research x x
Full Staff and Volunteer Presentation x x x
Second 2 Day Core Team Visitor Research Workshop x x x
Monitor and Support Visitor Research x x x
Planning Volunteer and Docent Training x x
Presentation on learning from Year 1 Visitor Research x
Implementation x x x x x x Westmoreland Interpretive Planning Initiative, Year Two (October 1, 2021– September 30, 2022)
Sept Oct Nov Dec Jan Feb Mar Apr May Jun Jul Aug Sept
Review of visitor research to date and x plan for year 2 Plan Year 2 Visitor Research Goals x Research Trip 2 of 2 (Columbus Museum of Art or Detroit Institute x of Art) Evaluation Collects midterm data x x x
Online Learning x x x x x x x x x x x x
Evaluation x x x x x x x x x x x x
Review/update of personal learning goals x x x Volunteer and Docent Training Session x x Core Team Interactives and Participation x x workshop Core Team: Formalization of new x x x design process Support of frontline staff managers x x x x X x
Summative Evaluation: Surveys and Interviews x x x Staff response to personal learning goals x x x Summative Evaluation x Report Implementation x x x x x x x x x x x x x
IMLS BUDGET FORM a. Legal name (5a from SF‐424S): b. Requested Grant Period From: (MM/DD/YYYY) Through: (MM/DD/YYYY) c. If this is a revised budget, indicate application/grant number:
1. Salaries and Wages Year 1 Year 2 Year 3 Total Name/Title or Position Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grand Total
Subtotal 2. Fringe Benefits Year 1 Year 2 Year 3 Total Rate and Base Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grand Total
Subtotal
OMB Control #: 3137-0092, Expiration Date: 8/31/2021 IMLS-CLR-F-0030 IMLS BUDGET FORM a. Legal name (5a from SF‐424S):
3. Travel Year 1 Year 2 Year 3 Total From/To and Purpose Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grand Total
Subtotal 4. Supplies, Materials, and Equipment Year 1 Year 2 Year 3 Total Item Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grand Total
Subtotal 5. Contracts and Subawards Year 1 Year 2 Year 3 Total Item Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grand Total
Subtotal
OMB Control #: 3137-0092, Expiration Date: 8/31/2021 IMLS-CLR-F-0030 IMLS BUDGET FORM a. Legal name (5a from SF‐424S):
6. Student Support Year 1 Year 2 Year 3 Total Item Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grand Total
Subtotal 7. Other Costs Year 1 Year 2 Year 3 Total Item Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grand Total
Subtotal
8. Total Direct Costs Year 1 Year 2 Year 3 Total Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grand Total Subtotals (Items 1‐7)
OMB Control #: 3137-0092, Expiration Date: 8/31/2021 IMLS-CLR-F-0030 IMLS BUDGET FORM a. Legal name (5a from SF‐424S):
9. Indirect Costs (Read the instructions about Indirect Costs before completing this section.)
Current indirect cost rate(s) have been negotiated with a federal agency. Name of Agency: Expiration Date: Indirect cost proposal has been submitted to a federal agency but not yet Name of Agency: Proposal Date: finalized. Applicant chooses a rate not to exceed 10% of modified total direct costs, and declares it is eligible for the 10% rate.
Applicant chooses not to include indirect costs.
Year 1 Year 2 Year 3 Total Rate and Base Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grand Total
Indirect Costs Subtotal 10. Total Project Costs Year 1 Year 2 Year 3 Total Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grant Fund Cost Share Grand Total Total Direct & Indirect Costs Total Costs (excluding student support)
OMB Control #: 3137-0092, Expiration Date: 8/31/2021 IMLS-CLR-F-0030 Budget Justification Salaries and Wages Anne Kraybill, The Richard M. Scaife Director/CEO will spend approximately 10% of her time attending professional development sessions and ensuring that this initiative is implemented and supported by the senior team, and directly integrated into the new strategic planning process. Ashley Bailey, Executive Assistant will spend approximately 10% of her time assisting in scheduling, communication, travel arrangements, and other project support as needed. Rhonda Madden, Director of Advancement will spend approximately 10% of her time integrating the new visitor centered interpretive planning process into the fundraising and reporting narratives to demonstrate the impact The Westmoreland has upon the community. Daria Jarani, Membership and Grants Manager will spend approximately 10% of her time integrating the new visitor centered interpretive planning process into grant writing and reporting. Claire Ertl, Director of Marketing will spend approximately 20% of her time attending professional development sessions and ensuring that visitor research and interpretive planning learnings from visitor research are included the marketing strategy. Joan McGarry, Director of Education and Visitor Engagement will spend approximately 20% of her time attending professional development sessions and directly implementing a new interpretive planning process that will include programming, docent training, and hands-on engagement. Randall Oaks, Director of Visitor Experience and Events will spend approximately 20% of his time attending professional development sessions and implementing learnings into trainings for our guest services onboarding and ongoing training. Mona Wiley, Public Programs Coordinator will spend approximately 20% of her time attending professional development sessions and implementing interpretive planning learnings and strategies into the public programming planning and implementation. Patrick Bochy, K-12 School Programs Manager will spend approximately 20% of his time attending professional development sessions and implementing interpretive planning learnings and strategies into docent training for school students, teacher professional development, and curriculum. Barbara Jones, Chief Curator will spend approximately 20% of her time attending professional development sessions and implementing interpretive planning learnings and strategies into the exhibition installation, hands-on engagements, label writing, and any other didactics. Bonnie West, Curatorial Assistant will spend approximately 20% of her time attending professional development sessions and supporting the implementation of new exhibition installations and interpretation. Doug Evans, Collections Manager will spend approximately 20% of his time attending professional development sessions and implementing interpretive planning learnings and strategies into exhibition installation and collections management systems. TBD, Curator, is a new position for 2020. The 2-year period of the grant will serve as an onboarding period to directly learn new approaches to interpretive planning and visitor experience, while simultaneously working with Barbara Jones, Chief Curator who is planning for retirement in the coming years. Having been at The Westmoreland for almost 25 years, it is critical in this transition that a new curator not only have the time to learn the collection and institutional history, but be a part of the new visitor center interpretive planning initiative. We will be making this hire in summer of 2020. The new curator will spend 20% of their time attending professional development and supporting the implementation of new exhibition installations. Fringe Benefits Anne Kraybill, The Richard M. Scaife Director/CEO – 10% Health and Vision = $1,120 annually Rhonda Madden, Director of Advancement – 10% Health and Vision = $1,542 annually Daria Jarani, Membership and Grants Manager – 10% Health and Vision = $258 annually Patrick Bochy, K-12 School Programs Manager – 20% Health and Vision = $1,034 Claire Ertl, Director of Marketing – 10% Health and Vision = $862 annually Joan McGarry, Director of Education and Visitor Engagement – 20% Health and Vision = $524 Annually Randall Oaks, Director of Visitor Experience and Events – 10% Health and Vision = $756 annually Mona Wiley, Public Programs Coordinator –20% Health and Vision = $658 annually Barbara Jones, Chief Curator – 20% Health and Vision = $737 annually Bonnie West, Curatorial Assistant – Currently elects for no coverage from museum = $0 TBD, Curator – 20% Health and Vision = $658 annually (estimated) Doug Evans, Collections Manager – 20% Health and Vision = $1,663 Ashley Bailey, Executive Assistan – Currently elects for no coverage from museum = $0 Travel Visit to the Columbus Museum of Art in Columbus, OH for 12 people Hotel $180 x 2 nights x 12 people = $4320 Food $59 per diem x 2 days x 12 people = $1416 Car Rental = $600 Fuel = $300 Visit to Detroit Institution of Art in Detroit, MI for 11 people Hotel $180 per diem x 2 nights x 12 people = $4320 Food $54 per diem x 2 nights x 12 people = $1296 Car Rental = $600 Fuel = $500 Supplies, Materials, Equipment We budgeted a contingency fund of $10,000 annually for supplies and materials for the creation of interactives and didactics. Because the method is determined by the process, we cannot itemize. In addition, as part of the new interpretive planning process, we may want to employ other technologies that we would fundraise for separately from this grant request. Contracts and Sub awards The following budget is for the Institution of Learning Innovation Year 1 Year 2 Totals A. Senior Personnel Judy Koke 25% $30,000 $30,000 $60,000
B. Other Personnel Data Analyst 5% $3,500 $3,500 $7,000 Total Salaries $33,500 $33,500 $67,000
C. Benefits (OSP tables) All @ 35.8% $11,993 $11,993 $23,986
Total Salary and Benefits $45,493 $45,493 $90,986
D. Equipment: $0 $0 $0
E. Travel (3 trips per year) $4,500 $4,500 $9,000
Total Direct Costs $49,993 $49,993 $99,986 Indirect Costs @ 26.05% $13,023 $13,023 26,046
Total Requested: $63,016 $63,016 $126,032
The following budget breakdown is for Arts Education Collaborative Year 1 Activities: Collect and review selected written policies, procedures, and processes and review participant’s personal learning outcomes. Observe selected workshop days (two days) and monthly video meetings (four meetings) Design end-of-session surveys and provide online link to facilitators for each workshop day (four days) and select monthly meetings (four meetings) Administer participant mind map at start of project Administer participant mind map at end of Year 1 Review documentation that provides evidence of level of progress toward individual performance indicators Meet with project leadership and possibly core team to report interim findings and discuss adjustments for Year 2. Year One Deliverables: 8 basic descriptive reports of participants’ response to end-of-session survey Copies of mind maps form start of project and end of Year 1 Basic descriptive report of responses to participant survey form start of project Slide Deck summarizing key findings from Year 1 evaluation AEC Year One Costs = $11,412 Year Two Activities: Collect and review selected written policies, procedures, and processes Observe selected workshop days (two days) and monthly video meetings (four meetings) Provide online link to end-of-session survey to facilitators for each workshop day (four days) and selected monthly meetings (four meetings) Administer participant mind map at end of project Administer participant survey at end of project Review documentation that provides evidence of level of progress toward individual performance indicators Conduct participant interviews at end of project Analyze data Facilitate group data review and reflection among core team members Write final report Year Two Deliverables: 8 basic descriptive reports of participants’ responses to end-of-session survey Three-hour facilitated review findings and discussion of next steps with the core team Full written summative evaluation report exploring detailed findings and suggested next steps, which will incorporate reflections by core team members. AEC Year Two Costs = $19,952 All AEC costs include AEC staff time, travel, and contracted services (e.g., interview transcription) for summative evaluation.
Project Total Grant Fund = $228,973 Cost Share = $301,502 Total Project = $530,475 List of Key Project Staff and Consultants Anne Kraybill, The Richard M. Scaife Director/CEO (Project Manager) Judith Koke, Director, Professional Learning at The Institute for Learning Innovation (Consultant) Matt Sikora, Director of Evaluation and Planning at the Arts Education Collaborative (Consultant) Rhonda Madden, Director of Advancement Daria Jarani, Membership and Grants Manager Claire Ertl, Director of Marketing Joan McGarry, Director of Education and Visitor Engagement Randall Oaks, Director of Visitor Experience and Special Events Mona Wiley, Public Programs Manager Patrick Bochy, K-12 School Programs Manager Barbara Jones, Chief Curator Douglas Evans, Collections Manager Bonnie West, Curatorial Assistant Ashley Bailey, Executive Assistant Assistant Curator, TBD ANNE KRAYBILL 1508 NE Benjamin Greens, Bentonville, AR, (479) 422-8805, [email protected]
PROFESSIONAL EXPERIENCE______
THE WESTMORELAND MUSEUM OF AMERICAN ART – Greensburg, PA, 8/2018 - Present The Richard M. Scaife Director/CEO Responsible for leading the institution and creating and implementing a compelling and sustainable vision for its future, building on its strengths and capitalizing on new opportunities. Serve as the public figure for the institution locally, regionally, and nationally. Reporting to the Board of Directors, activities include overseeing all fundraising, collections, exhibitions, programming, marketing, and financial activities of the museum.
CRYSTAL BRIDGES MUSEUM OF AMERICAN ART – Bentonville, AR, 2/2011 to 7/2018
Director of Education and Research in Learning, 3/2015 to 7/2018 Oversee a team of 20 full-time and 14 part-time staff in five departments; Public Programs, School and Teacher Programs, Guide Program, Access and Inclusive Programs, and Research and Evaluation. Manage a budget of over $3.9 million annually derived from earned income, grants, sponsorships, and endowment distributions. Serve over 45,000 students and over 165,000 guests annually through robust programs and partnerships. Member of the senior strategy team and responsible for the strategic planning and vision for the institution.
Distance Learning Project Manager, 8/2013 to 3/2015 Responsible for formative research and implementation of a new online for credit arts course available for high school students across the nation while taking doctoral level coursework in research and evaluation. The program received a gold MUSE award in 2015 from the American Alliance for Museums.
School Programs Manager, 2/2011 to 8/2013 Oversaw all programs related to K-12 students and teachers including The Willard and Pat Walker School Visit Program, a $10 million endowment to serve K-12 schools visits. Managed a team of three full-time educators and six part-time educators, and a full-time assistant.
DURHAM ARTS COUNCIL – Durham, NC DAC School Director, 1/2009 to 1/2011 Managed all operations related to the Community School including dance, music, visual arts, clay studio, and youth camps/classes and the Creative Arts in Public/Private Schools (CAPS) program. Managed a staff of two full-time, two seasonal, and 75 teaching artists.
VERO BEACH MUSEUM OF ART – Vero Beach, FL Director of Education, 4/2005 to 12/2008 Oversaw all aspects of a comprehensive education department including the Art School and Bronze Foundry, Docent Program, Lecture Series, Film Series, Youth Programs, Family Festivals, Community Outreach, the Stone Library, Interpretive Materials, and School Programs. Managed a talented team of three full-time and three part- time staff, a faculty of 40, and volunteer docents and worked with the Director, Board of Trustees and Education Committee and Subcommittees to develop short and long-range goals and evaluation methodologies for all educational programs.
CENTER FOR CREATIVE EDUCATION – West Palm Beach, FL Program Director, 10/2003 to 3/2005 Managed over 50 area professional artists and a variety of programs including, Project LEAP (Learning through Educational and Artistic Partnerships), the Knight Foundation Initiative and the annual Teachers’ Summer Institute. I coordinated artist residencies for Project LEAP, a ten-week partnership between an artist and teacher to develop curriculum using the arts as the instructional tool to achieve Sunshine State Standards.
ANNE KRAYBILL 1508 NE Benjamin Greens, Bentonville, AR, (479) 422-8805, [email protected]
NORTON MUSEUM OF ART – West Palm Beach, FL Assistant Curator of Education, 5/2001 to 10/2003 Managed all student and teacher programs including over 150 annual student tours serving over 10,000 students, docent training, Saturday teacher professional development, teacher in-service, annual Teachers’ Summer Institute, and curriculum development. Served as a member of the exhibition review committee and computer kiosk committee, and assisted in writing and seeking grant funding, worked with other departments to develop new initiatives and assisted in other educational programming.
PENNSYLVANIA ACADAMY OF FINE ART – Philadelphia, PA Graduate Assistant, 2000-2001 Provided school tours and studio programs for students and developed interpretive materials for teachers.
WALTERS MUSEUM – Baltimore, MD Public Programs Facilitator, 1999-2000 Directed and taught all summer camp programs, managed pre-school Saturday classes, facilitated adult and youth programming and events.
EDUCATION______
UNIVERSITY OF ARKANSAS – FAYETTEVILLE, AR Graduate Studies (research methods, econometrics, and measurement) in Policy, 2013-2015
EAST CAROLINA UNIVERSITY – GREENVILLE, NC Masters of Science, Instructional Technology, 2013
UNIVERSITY OF THE ARTS – PHILADELPHIA, PA Masters of Arts, Museum Education, 2001
MARYLAND INSTITUTE COLLEGE OF ART – BALTIMORE, MD Bachelors of Fine Arts, Photography, 1999
SELECTED PUBLICATIONS______
Kraybill, A. (2015). Breadth and Depth: A Survey of Professional Development in Art Museums. In: Kletcka, D. & Carpenter, S.B., ed. Professional Development in Art Museums: Strategies of Engagement through Contemporary Art! Forthcoming
Sanger, E.; Silverman, S.; Kraybill, A. Developing a Model for Technology Based Museum School Partnerships. Journal of Museum Education. Leeds: Maney Publishing. Volume 40, Number 2, July 2015, pp. 147–158.
Kraybill, A.; Dinn, H. Building Capacity and Sustaining Endeavors. Journal of Museum Education. Leeds: Maney Publishing. Volume 40, Number 2, July 2015, pp. 171–179.
Kraybill, A. ed. Going the Distance: Online Learning and the Museum. Journal of Museum Education. Leeds: Maney Publishing. Volume 40, Number 2, July 2015, pp. 97 – 101.
Anne Kraybill, David Fredrick and Kirsten Peterson. "Beyond the Virtual Field-Trip: The Online Museum Classroom." MW2015: Museums and the Web 2015. Published February 23, 2015. http://mw2015.museumsandtheweb.com/paper/beyond-the-virtual-field-trip-the-online-museum-classroom/
Judith M. Koke
Museum Leadership and Innovation Respected museum educator and researcher with over 25 years’ experience leading museums to a more inclusive approach. Key strengths include: Integrating field and organizational visitor research into evidence-based decision-making; Building trust, confidence and teamwork in staff to remain mission driven during change and to build deep organizational transformation; Catalyzing relationships with external partners to leverage audiences and capacity; Creating innovative solutions that can be measured for efficacy and impact.
Professional History Institute for Learning Innovation Director, Professional Learning – 2018 – present In a leadership role at the Institute for Learning Innovation Judy is working at the intersection of research, practice, and policy to research and improve how professionals learn. In her capacity as Director, Professional Learning, Judy researches, innovates and disseminates more effective methods to engage professionals in learning and capacity building, with particular attention to integrating research into practice.
Art Gallery of Ontario Chief, Public Programming and Learning – 2014 to 2017 Held primary responsibility to implement a vision and strategy that increased public engagement through the AGO’s events, programs, exhibitions and gallery interpretation – online and onsite. Led the Gallery in understanding, accommodating and satisfying the various reasons diverse visitors come to the museum to ensure the creation of memorable and meaningful experiences. Division of 65 FTE and $ 4 M budget. Institutional Budget of $63M. Key Accountabilities of this role included: Worked closely with Chief Curator and Chief Exhibitions and Collections to deliver exhibition and programming strategy that reflects the Gallery’s mission, strategic priorities and attendance goals; Directed the multi-year planning and annual operation of the Weston Family Learning Centre achieving ambitious revenue and attendance targets; Led the development of a digital engagement department; Institutional lead on the development of a gallery-wide inclusion strategy.
University of Toronto Session Instructor, 2010, 2011, 2017, 2018 Museum Interpretation and Meaning-making.” Graduate Seminar (12 weeks) Museums and their Publics Graduate Seminar (12 weeks) Museum Management Graduate Seminar (12 weeks)
Nelson-Atkins Museum of Art Director, Education and Interpretive Programs- 2011 to 2014 As a member of the senior leadership team worked to integrate cross institutional priorities, including the development of an exhibition schedule that reflected the needs of the museum and the community. Led a department of 45 staff (budget of 2M) in developing enriching experiences of art and culture for broad audiences. Directed all visitor research. Led Innovation team. Key accountabilities of this role included:
Art Gallery of Ontario, Toronto, Ontario, Canada Deputy Director, Education and Public Programming- 2007 to 2011 Developed and implemented a pan-institutional approach to visitor research to support data-driven, visitor-centered decision making. Guided the new process for team-based experience design. Led Interpretive Planning team, continually integrating and evaluating innovative strategies to engage broad audiences.
Judith M. Koke Resume January 2018 Page 1
Institute for Learning Innovation Senior Research Associate - 2005 to 2007 Responsible for the business development, research design and implementation of visitor research in diverse free-choice learning environments. Responsible for generating individual projects totally 750K in funding. Responsible for quality control, client relations and budget management for all projects.
George Washington University Adjunct Professor - April – July 2007 “Introduction to Museum Evaluation.” Graduate Seminar (12 weeks)
University of Colorado Museum of Natural History Boulder, Colorado Assistant Director - 2004 to 2005
Denver Museum of Nature and Science Exhibition Evaluator: 1997 to 2000 Manager of Visitor Studies and Evaluation: 2000 to 2004
Education 5 Completed Courses, Interdisciplinary Doctorate of Education Leadership, Creighton University Master of Museum Studies – University of Toronto, Certificate of Management - University of Denver Honors Bachelor of Science - University of Toronto
Selected Publications (2008 – present) Koke, J. Planning for Millennial Audiences: A more nuanced approach, Museum Magazine, American Alliance of Museums, Washington D.C. January 2018. Koke, J and Ryan, K. From Consultation to Collaboration. In Visitor-Centered Exhibitions and Edu-Curation in Art Museums, Rowman and Littlefield, MD. Villeneuve, P and Rowson A. eds. (April, 2017) March 8, 2016, What’s the Future of Canadian Museums? Contributing author, Canadian Art, accessed canadianart.ca/features/whats-the-future—of-canadas-museums/. Accessed July 27, 16. Koke, J. and Adams, M. (2014) “Stuck” is where you need to pay attention: barriers to creating truly inclusive art museums. In Critical Multiculturalism and the Art Museum. Boyd, J. and Evans, L. eds. Austin, TX: University of Texas Press, 3-18. Wells, M, Butler, B and Koke, J. (2013) Interpretive Planning for Museums: Integrating Visitor Perspectives in Decision Making. Walnut Creek, CA: West Coast Press. Koke, J. (2008) Comprehensive Interpretive Plans: The Next Step in Visitor Centeredness and Business Success? Journal of Museum Education, 33(3) 247-254. Heimlich, J.E. and Koke, J. (2008). Gay and lesbian visitors and cultural institutions: Do they come? Do they care? Museums & Social Issues: A Journal of Reflective Discourse. 3(1) 93-104.
Selected Presentations: (2013 to present) November 2017, Wichita Art Museum, Invited Speaker, “How Visitor Research is Shaping New Approaches to Museum Practice.” May 2016, Oklahoma City Museum of Art, Invited Speaker “Art Museums in the 21st Century” October 2015, Association Art Museum Directors, Detroit, MI. “Using visitor data to inform institutional decision-making” and “New Approaches to Exhibition Development.” Nov 5, 2013, “From Expert to Collaborator” presentation at Arts Forward Innovation Conference. https://vimeo.com/78659932. March 2013, NAEA Annual Conference, Fort Worth, Texas: Building an Innovative Culture in Museums.
Judith M. Koke Resume January 2018 Page 2
Matthew Sikora (313) 316-0085 • [email protected] • 1443 Termon Avenue • Pittsburgh, PA 15212
Summary Skilled in systematic research, design, development, and evaluation processes for the purpose of improving performance toward institutional goals. Plans and manages
projects with emphasis on facilitating evaluation use by stakeholders.
Career Director of Evaluation and Planning History Arts Education Collaborative, Carnegie Museums of Pittsburgh; 2018 to present (Manager of Evaluation and Research, 2013 to 2018) Responsible for design, implementation, analysis, reporting of evaluation of organization’s programs for arts educators as well as evaluation and planning consulting services for arts organizations and school districts • Developed evaluation plans and protocols and lead ongoing data collection, analysis, and reporting for AEC’s core professional learning programs for arts educators, including Regional Arts Education Day, Leadership Academy, Community of Learners for Arts Education, School District Arts Self-Assessment. • Collaborated with graphic designers and staff to develop visual dashboard of AEC activities to continually monitor programs and communicate with stakeholders about organizational inputs, outputs, reach. • Facilitated creation of logic models to help staff identify outcomes for all major programs, linking intended results to environmental factors, resources, activities.
Director, Evaluation Detroit Institute of Arts; 2008 to 2013 (Associate Educator, Evaluation and Research, 2002 to 2008) Managed two-person department responsible for design, implementation, analysis, reporting of visitor evaluation related to exhibitions, programs, visitor services, membership, marketing. Conducted internal evaluations as well as collaborated with external consultants on selected projects. • Designed and implemented plan to expand role of evaluation across multiple areas of museum operations; conducted formal interviews with twenty staff to inform plan. • With support of major Institute of Museum and Library Services grant, led comprehensive, multi-year summative evaluation of visitor use, response, outcomes related to reinstallation and reinterpretation of entire DIA permanent collection. • Developed standard set of indicators of success to be applied across special exhibitions, including measures of attendance, audience, satisfaction, word of mouth, professional response, learning; facilitated discussion groups with more than forty staff to gather input from across departments and divisions. • Co-directed series of nine four-hour focus group sessions with non-visitors and infrequent visitors to inform early stages of five-year, museum-wide reinstallation. • Drafted interpretive policy statement for reinstallation project, establishing focus on visitor experience; led design and development of customized content management database, tracking all interpretive elements produced for project.
Matthew Sikora (313) 316-0085 • [email protected] • 1443 Termon Avenue • Pittsburgh, PA 15212
Education Wayne State University Detroit, Michigan, 1999 Master of Education, Instructional Technology (Emphasis in Theory and Research)
2000/2001 Outstanding Masters Student Award
Kalamazoo College
Kalamazoo, Michigan, 1994 Bachelor of Arts, English magna cum laude
Professional • Beverly Serrell, Matt Sikora, and Marianna Adams (2013). “What Do Visitors Mean by Publications ‘Meaning’?” Exhibitionist 32 (1): 8-15.
• Matt Sikora, Daryl Fischer, Beverly Serrell, Deborah Perry, and Ken Morris (2009). “New Roles for Evaluation at the Detroit Institute of Arts.” Curator: The Museum Journal
52 (1): 45-66.
Associations • Member, American Evaluation Association • Member, Visitor Studies Association
Service • ArtsEdSearch reviewer, Arts Education Partnership (2018 to present) • Grant Applications Review Panelist, National Science Foundation (2014) • Visitor Studies Association Board of Directors (2007 to 2013) Executive Committee, VP of Organizational Outreach (2009 to 2013) BISE/CAISE Grants Oversight Committee Chair (2011 to 2013) Membership Committee Chair (2007 to 2009) Conference Program Co-Chair (2007) • Grant Applications Review Panelist, Institute of Museum and Library Services (2010 and 2011) • Guest Lecturer, University of Michigan, University of Washington, Wayne State University (2012 to 2013) • Student Project Advisor, University of Washington, Museology Program (2010 to 2011)
RHONDA M. MADDEN
267-496-0293 [email protected]
CAREER PROFILE
Innovative and strategic leader with demonstrated ability to execute transformative community projects and programs. Special strength as a consensus builder with expertise in securing high levels of support from corporate and foundation funders, government partners, and individual investors. Very effective coach and mentor building effective teams that exceed organizational performance measures.
PROFESSIONAL EXPERIENCE
Westmoreland Museum of American Art, Greensburg, PA Director of Advancement (January 2019 – Present)
Senior team leader responsible for oversight of fundraising, government relations, and community outreach. Leading efforts to re-energize board, volunteers and staff around advancing strategic initiatives and building organizational strength with increased visitor, donor, and community stakeholder engagement.
Riverlife, Pittsburgh, PA Vice President, Strategic Initiatives (2017 - 2018) Chief Development Officer (2012 – 2016)
Secured board and CEO support to serve in new role as Vice President, Strategic Initiatives overseeing expanded outreach to real estate developers, city planners, community stakeholders, donors, and state and federal officials.
Allegheny Land Trust, Sewickley, PA Director of Development (2007 – 2011)
Led community efforts to protect additional conservation park areas in North Park and Mt. Washington, and raised over $450,000 to acquire and steward Sycamore Island. Established organization’s first development office, initiated corporate giving program, and established first portfolio of over 100 individual major donors.
The Trust for Public Land (TPL), New York, NY Regional Director of Development & Public Affairs (2005 – 2007)
Led Mid-Atlantic fundraising and communications team, and coached advisory board leadership for seven-state region resulting in largest number of contributions ($8 million) and most media features (New York Times, Washington Post, Baltimore Sun) in a single year.
Dragonfly Forest, Inc., Narberth, PA Vice President of Development (2003 – 2005)
The Academy of Natural Sciences, Philadelphia, PA Vice President of External Affairs (2002 - 2003) Director of Development (1999 – 2002)
Successfully completed $25 million endowment campaign including noteworthy awards from the National Park Service Save America’s Treasures grant program, a $5 million endowment gift for collections care, and a $7 million bequest for environmental education. Raised highest levels of individual giving and established new giving circle for donors contributing $25,000 or more annually for operations.
Pennypack Ecological Restoration Trust, Huntingdon Valley, PA Director of Development (1996-1999)
Philadelphia Hospitality, Inc., Philadelphia, PA Director of Marketing (1994-1996)
Appel Farm Arts & Music Center, Elmer, NJ Assistant Director of Development (1990-1994)
PROFESSIONAL AFFILIATIONS
Association of Fundraising Professionals Art Museum Development Association Pittsburgh Planned Giving Council
EDUCATION
Duquesne University, Palumbo Donahue School of Business Emerging Women’s Leadership Program, 2014
University of Pennsylvania, Philadelphia, PA Graduate course work in Environmental Policy, 1997 – 1999
Richard Stockton College, Pomona, NJ B.A., English Literature, 1989
CIVIC SERVICE
Landforce, Board Member Garden Club of Allegheny County, Conservation Committee Member Daria I. Jarani 553 Celeron Street, Floor 1 Pittsburgh, PA 15221 (610) 787-0329 ~ [email protected]
EDUCATION Carnegie Mellon University, Pittsburgh, PA Master of Arts Management, 2014 – 2016
University of Pittsburgh, Pittsburgh, PA Bachelor of Arts, English Literature, 2010 – 2014
Villa Maria Academy, Malvern, PA High School Diploma, 2006 – 2010
WORK HISTORY The Westmoreland Museum of American Art, Greensburg, PA Membership & Grants Manager, January 2019 – Present Advancement Associate, August 2016 – January 2019 Works directly with the Director of Advancement and the Richard M. Scaife Director/CEO to support all fundraising initiatives for individual, corporate, government and foundation giving. Manages all grant reporting and coordinates materials for grant proposals, including performing grant opportunity and foundation research Utilizes Salsa CRM Database to perform reports on donations and memberships Works with Advancement Team to devise strategies on membership engagement and promotion, including composing membership marketing copy, and composing personal letters to members Attends all member events and the annual fundraiser to cultivate relationships with members and friends of the Museum
Heinz Chapel Choir, Pittsburgh, PA Holiday Concert Manager, November 2014 – December 2017, seasonal Facilitated seating of a sold-out crowd into a small chapel for 6 performances Worked with the Chapel Docent and Heinz Chapel Choir Director to improve crowd logistics Operated the lighting console during the concert
Pittsburgh Symphony Orchestra, Pittsburgh, PA Individual Support & Research Intern, September 2015 – April 2016 Assisted in coordinating scheduled donor mailings Performed analysis of data collected from Annual Fund in Excel and Access Researched options for changes in Annual Fund process Assisted in daily operations of the Annual Fund Analyzed Telefunding data, including objections and effectiveness of incentives Special Events Assistant, May – September 2015 Assisted in planning a large-scale fundraising event Facilitated organization and execution of annual Silent Auction Managed group of auction volunteers Used Tessitura daily Experienced in interacting with donors on a personal basis
Carnegie Mellon School of Music, Pittsburgh, PA Box Office Manager, October 2014 – April 2015 Managed ticketing and check-in at CMU School of Music concerts held at the Carnegie Music Hall Utilized the Showclix ticketing platform to track check-ins, and use ticketing data to build marketing lists
Morgan Contemporary Glass Gallery, Pittsburgh, PA Gallery Intern, May 2013– August 2014 Assisted in operational activities of the gallery, including: o Shipping and receiving of glass sculptures and jewelry o Design of gallery marketing materials in Adobe Photoshop o Organization of artist files
Johnson Matthey, Inc., West Chester, PA Shipping Assistant, May – August 2011; May – August, 2012 Helped to facilitate the shipment of JM’s products Assisted in organizing the order records room
SKILLS Grantwriting – LOIs, Cover Letters, Proposals, Acknowledgments, Reports Principles of Fundraising Salsa CRM and Engage Email Marketing, Tessitura Abila MIP Accounting Microsoft Office Suite, including Excel, Access, Word, Powerpoint Showclix Ticketing Platform Adobe InDesign CS6, Illustrator CS6, Photoshop CS6
AWARDS Academic Scholarship, Carnegie Mellon University, Pittsburgh, PA 2014 - 2016
Departmental Honors, University of Pittsburgh, Pittsburgh, PA 2014
Dean’s List, University of Pittsburgh, Pittsburgh, PA 2011-2014
Four-Year Music Award, Villa Maria Academy, Malvern, PA 2010
Claire S. Ertl 2817 Autumnwood Drive
Glenshaw, PA 15116 412.302.3377 [email protected]
Profile goal-oriented marketing professional with over 15 years of experience working with nonprofit arts organizations and a track record of career growth
Professional Experience
The Westmoreland Museum of American Art 2014-present Director of Marketing and Public Relations
. develops the marketing and public relations strategy of the Museum . creates annual plan and budget to support goals and objectives . manages and directs department staff to achieve marketing and public relations goals . develops, coordinates and executes specific marketing campaigns designed to create awareness and promote exhibitions, programs and events . coordinates the scheduling of marketing campaigns with media outlets . writes press releases and newsletter content . manages creation of organization’s annual report . leads engagement with external agencies/firms for specialized marketing projects and research . compiles and analyzes visitor attendance and reports internally and to external entities . develops community, county and national awareness in support of goals and objectives by maintaining press/media contact relationships . manages partnerships with regional tourism organizations to increase visitation . participates in strategic planning process as a member of the Museum’s senior management team
Pittsburgh Symphony Orchestra 2005-2014 Senior Director of Audience Development and Sales, 2012-2014 Senior Director of Marketing, 2011-2012 Director of Marketing, 2010-2011 Associate Director of Marketing, 2008-2010 Marketing Manager, 2005-2008
. managed the subscription and single ticket marketing campaigns and corresponding expense budgets for the Pittsburgh Symphony Orchestra (PSO) PNC Pops and Fiddlesticks Family Concert series as well as select special concerts . negotiated PSO annual media contracts with print, radio and television entities . worked with internal designers and advertising agency staff on creation of marketing campaign collateral, including direct mail, print, online and outdoor advertising . wrote copy for brochures and other direct mail pieces as well as radio spot scripts and created direction for television spots . established mutually benefitting partnerships with media entities, other cultural organizations and businesses to increase exposure
C l a i r e S . Ertl Resume Page 1 of 2
. oversaw single ticket marketing campaigns corresponding expense budgets for all PSO products (over 40 performance weekends per season) from 2008 through 2012 and grew revenue by at least 10% each year . supervised PSO marketing manager during this same time frame (2008-2012), who assisted with the single ticketing marketing efforts and developed PSO social media presence . planned annual PSO marketing partners thank you event as well as numerous patron-directed events, including Paris Festival French food and wine tasting, season ticket holder retention events, Pops season preview for prospective season ticket buyers, other on and off site pre-concert wine tasting events and Pops post-concert dance parties with 50s and 70s themes . played integral part in instituting dynamic pricing practices, which resulted in significant revenue increases . grew PSO E-notes email subscriber base by 500% in my first full season at the PSO through implementation of low cost in-hall promotional plan
Pittsburgh Ballet Theatre 2000-2004 Group Sales Manager, 2001-2004 Marketing Associate, 2000-2001
. managed Pittsburgh Ballet Theatre (PBT) group sales department budget . supervised group sales associate . provided excellent customer service for existing clients and cultivated new group sales through cold calls and visits with potential clients . coordinated and scheduled pre-performance backstage tours and other events for group clients as well as the young professional geared Fridays at the Barre program consisting of pre-performance “happy hour” event, shuttle to and from Benedum Center, backstage tour and ballet performance . represented PBT as a member of several business, cultural and tourism associations/organizations . attended various trade shows and community events to promote PBT and obtain sales leads . oversaw scheduling and training of volunteer tour guides for group tours . served as staff coordinator of PBT program magazine . fielded public inquiries and requests from PBT website and performed website maintenance
Professional Development
. accepted into the 2018 Cohort of the Arts Marketing and Audience Engagement in the 21st Century: Building the Capacity of Pennsylvania’s Cultural Sector, an initiative of Americans for the Arts National Arts Marketing Project and the Pennsylvania Council on the Arts . participated in The Forbes Funds 2016 Velocity Series seminar on nonprofit fundraising and marketing . completed Sam Deep Leadership Academy 13-month seminar (2011-2012) . assisted Pittsburgh Chamber Music Society executive director with creation of 50th anniversary marketing plan through Greater Pittsburgh Art Council’s Business Volunteers for the Arts program (2010-2011) . received grant to attend 2010 National Arts Marketing Project conference
Education
Denison University, Granville, Ohio – Bachelor of Arts, 2000
C l a i r e S . Ertl Resume Page 2 of 2
JOAN Mc GARRY 504 Cattail Dr Greensburg, PA 15601 412-334 7336 [email protected]
PROFESSIONAL EXPERIENCE SUMMARY
An effective communicator, public speaker, and self-starter committed to excellence and professionalism. Extensive practical experience in museum education with strong people and organizational skills.
PROFESSIONAL EXPERIENCE
Director of Education and Visitor Engagement, The Westmoreland Museum of American Art. December, 2010 – present.
Responsibilities:
Member of Senior Team at Museum. Manage and design all educational content for the Museum. Oversee all public programming for the Museum. Oversee outreach program to educational and public entities. Oversee all training of docents and interns. Create and oversee development and execution of special grant funded projects for schools. Assist in the writing of grants for educational purposes. Manage departmental budget.
School and Studio Programs Coordinator, The Andy Warhol Museum, Pittsburgh. July, 2007 – December, 2010.
Responsibilities:
Manage, coordinate, teach and evaluate school and studio programs with specific oversight for tours, workshops, outreaches, and Weekend Factory studio. Manage and train education volunteers and interns. Oversee the scheduling of Artist/Educator staff and volunteers for all tours, workshops, outreaches and weekend factory programs. Oversee payroll and departmental numbers reporting for educational programming (internal, external, and quarterly). Assist the Associate Curator of Education: School and Teacher Programs in managing, coordinating and implementing school and teacher programs. Assist in staff development, training and career progression. Plan, develop, and implement all educational programs. Developing long-term vision and plans for school and studio programs at The Andy Warhol Museum together with Curator of Education & Interpretation and senior staff. Develop and maintain relationships with regional teachers and school administrators with a focus on the promotion and dissemination of education programs and resources. Research and make presentations on Andy Warhol’s art and life, the museum’s collections and education resources and related issues in contemporary art and education practice. Perform various other education programs when required.
Art Teacher, Manchester Youth Development Center, Pittsburgh. September, 2008 – 2010. Teaching Art to 3rd – 8th Grade students in an after school program.
Long-term, part-time Printmaking Substitute Teacher, The High School for Creative and Performing Arts (CAPA), Pittsburgh, January, 2007-November, 2007. This position involved creating and teaching unit and lesson plans for high school grades 9-12.
Artist Educator/Weekend Factory Coordinator, The Andy Warhol Museum, August, 2005- July, 2007. The Artist Educator position involved leading programs/activities for the public, leading educational workshops and tours for school groups, designing and writing lesson plans for gallery and studio activities, implementing ideas for exhibition openings and working on various programs for the Education Department and Public Programs. In addition, the Weekend Factory Coordinator position involved leading a collaborative group of Artist Educators in creating and presenting studio projects for the public, preparing a quarterly budget for project supplies, and hiring and training volunteers and interns to work in the weekend studio.
Volunteer/Intern at the Andy Warhol Museum, January, 2005-August 2005. Worked in the Education Department and the Weekend Factory Studio for Curator of Public Programs. Conducted research and assisted with various office and computer tasks. Worked in the studio and on outreach programs assisting the public in various art related projects. Assisted in making art for, and in set up of, the Spike-a-Delic Gala celebrating the museum’s 10th Anniversary.
Volunteer Assistant to art teacher at Shaler Intermediate School, September, 2004-June 2005. Assisted in teaching art classes as well as writing, planning, and presenting lessons. Assisted in selection of art for, and set up of, student art show.
Art Educator at the Telfair Museum of Art in Savannah, GA, August, 1998-July, 1999. Assisted in coordinating the Art Reach Program for the museum, designed to bring works of art to outlying schools in southeast Georgia. Conducted classes and activities within the schools. Conducted sculpture and painting programs for visiting school students to the museum. Coordinated and presented art programs at Golden Age Centers under city government and museum grants. Organized exhibitions of student art works at the Telfair Museum. Conducted research in Art History for art exhibitions at the museum, producing informational portraits on a variety of artists and art movements. Assisted in the setting up of museum exhibitions.
EDUCATION
Business Management Certification, CCAC, Pittsburgh (2011)
M.Ed. Art Education, Carlow University, Pittsburgh (2009).
Art K-12 Teaching Certification, Carlow University, Pittsburgh (2006)
B.A. Studio Arts and History of Art, University of Pittsburgh (2004)
Randall K. Oaks
Event Management Professional
CONTACT DETAILS PERSONAL SUMMARY
Randall K. Oaks Well presented, highly personable and efficient event professional with an 416 Guy Street ability to work independently as well as collaboratively in a fast-pace, changing and multi-tasking environment with numerous and competing Jeannette, PA 15644 deadlines. Possess strong customer service and excellent communication (814) 577-6776 skills. Confident and comfortable working in a managerial role with a [email protected] hands-on approach for a diverse and growth oriented work environment.
WORK EXPERIENCE
AREAS OF EXPERTISE The Westmoreland Museum of American Art- Greensburg, PA EVENT MANAGER October 2014- Present Event Planning Developed and implemented a new rental program for The Westmoreland Event Logistics after reopening from a 2 year renovation and expansion. Coordinated and Public Relations executed the Grand Reopening Celebration- The Sky’s the Limit, Marketing welcoming over 850 guests and being named one of the top parties of Management 2015 by Trib Total Media Hospitality . Food Service Duties: • Manage and maintain the master calendar for space rentals, museum events and interdepartmental use • Coordinate and execute monthly in-house events such as Art on PROFESSIONAL Tap and The Westmoreland Jazz Concert Series • Coordinate and execute the annual fundraising gala – Big Art Act 33, Act 34, Party. Named top party of 2016 for Westmoreland County by Trib FBI Clearances Total Media • Manage and coordinate monthly set-ups with facilities for all museum events, lectures and tours • Communicate interdepartmentally to plan and facilitate new and PERSONAL SKILLS creative events for donors and guests • Manage and oversee event ticket sales via Showclix.com Personable • Negotiate and oversee vendor contracts, arrivals and execution Articulate • Promote, coordinate and execute private rentals of museum space Resourceful • Manage and act as liaison for The Museum Café with catering Multi-Tasking partner Enthusiasm • Maintain and oversee special event, rental and cafe budgets Leader totaling over 250K Team Player Tech-Savvy Sharky’s Café- Latrobe, PA EVENT/BANQUET MANAGER July 2012-December 2014 Managed all private event rooms/spaces and banquet processes and procedures. Supervise staff and coordinate daily operations of local AWARDS & RECOGNITION restaurant while maintaining the yearly calendar and reservations to Named one of Pittsburgh’s ensure exceptional customer service and effective delivery of events. 2017-13 under 30 by WHIRL Magazine Duties: • Developing, implementing and managing events. • Preparing event order sheets, set-ups and timelines • Manage customer complaints and queries • Ensure smooth coordination between the back-of-house and front-of-house activities
• Greet guests and make arrangements to seat them • Maintain social media and website content and design. • Monitor preparation, handling, and serving of food. • Maintain a clean and safe environment. • Build repeat and good client relationships. REFERENCES: Greensburg Country Club-Greensburg, PA
ASSISTANT EVENT COORDINATOR Sept 2011- July 2012 Megan Sheesley, Development Assisted in the planning, organization, filing and execution of events at the Associate Greensburg Country Club. Event experience included: conferences, Magee-Women’s Research vendor shows, meetings, fundraisers, galas and weddings. Managed a Institute & Foundation banquet staff of 10 or more to prepare, set-up, and execute all events. 204 Craft Ave, Duties: Pittsburgh, PA 15213 • Created and maintained event sales database on Caterease. 814-939-9183 • Worked closely with exhibition organizers, hosts and event clients to obtain all information needed to coordinate and execute events. Ms. Debbie Pologruto, Event • Ensure adequate staff is available for each event. Coordinator • Provided prospective clients with tours, information and Greensburg Country Club appropriate communications in order to plan, organize and Box 964 arrange events. Created and developed room floor plans and set-ups. Greensburg, PA 15601 • 724-837-1810 • Collaborated with kitchen staff to ensure smooth and timely functions of event
Dominic Giallombardo KEY SKILLS AND COMPETENCIES 2 Randolph Street • Over the course of 5 years- executed 450+ events Lyndora, PA 16045 • Managed and executed events with parties of up to 850 guests 724-290-2052 • Can work effectively on several projects simultaneously • Able to work under pressure individually and as part of a team • Thoroughness, attention to detail and excellent time management skills • Tech-savvy and experienced in many social media outlets to advertise and promote business • Advanced in Windows XP/Vista/7: Microsoft Office Suite; Word, Excel, & PowerPoint • Proficient in Apple OS X Mountain Lion, Apple; Pages, Numbers, Keynote, Adobe Creative Cloud, Photoshop,
Illustration, InDesign and event software- Caterease
LEADERSHIP • Served as Kappa Kappa Psi, National Honorary Band Fraternity Chapter President for two years. • Directed and managed over a hundred members as Drum Major and President of the Clarion University Marching Band for three consecutive years.
ACADEMIC QUALIFICATIONS Executive Master’s in Hospitality Management December, 2018 Conrad N. Hilton College Hilton University of Houston- Houston, TX
Bachelor of Arts and Sciences Liberal Studies: Education Concentration Minor: Music Clarion University of Pennsylvania- Clarion, PA 2006-2010
Mona Wiley
814-244-5959 [email protected]
Summary
An articulate communicator, facilitator, and energetic team leader who can effectively use resources and avenues to provide suitable leadership, over a vast variety of professions. An experienced program facilitator with a passion for the arts.
Professional Experience The Westmoreland Museum of American Art Public Programs Manager July 2019- Present Supports and manages implementation of public events and programs, including monthly Community Days. Schedules and manages guest artists/performers and volunteers. Research and identify relevant programming for temporary exhibits that engage visitors and continue to garner repeat visits. Responsible for arranging speaking engagements and the coordination of audio-visual needs, travel, accommodations, and reimbursement. Lead representative for the Museum in programming and scheduling for Annual Arts Walk. Creates partnerships with outside organizations and nonprofits to further connect the community through diverse programming and events.
Public Programs Coordinator March 2018-June 2019 Implemented programs that enrich the museum’s mission, permanent collection, exhibitions and American Art. Facilitated all aspects of adult and school tours including scheduling, confirmations, invoicing, and coordination of docents, transportation, gallery hosts and set up of galleries and lunch facilities. Responsible for arranging speaking engagements including coordination of audio-visual needs, travel, accommodations, and reimbursement. Worked as a liaison between the Education Department and the museum docents including leading meetings, creating and maintaining tour schedules.
The Women's Help Center, Inc. June 2017-March 2018 Community Education Specialist Provided essential educational programs focusing on prevention and elimination of domestic violence in our society within the Pennsylvania Coalition Against Domestic Violence’s policies. Conducted educational programs concerning domestic violence and services offered through the center to Cambria and Somerset County. Implemented structured educational and social activities for children and teens. Participated in local and national tasks forces that represent domestic violence and sexual assault survivors. Designed trainings concerning domestic violence prevention to in order to educate various community systems.
Goodwill of the Southern Alleghenies June 2014-June 2017 Employment Counselor/Workforce Innovation and Opportunity Act Assist clients with employment barrier(s) reduction, job readiness training, job development and job placement. Aide clients in increasing their skills by recruiting for, developing, and executing on-site training opportunities and by connecting clients to off-site training opportunities. Monitor client's progression on goal implementation and maintained client documentation in accordance with policies and procedures of the State of Department of Human Services. Facilitate several seminars on job maintenance resulting in 60% of clients retaining their jobs in the program. Recruit, manage and serve as liaison to 40+ businesses in for profit and nonprofit sector to facilitate mentor-ship and job training to clients.
HealthNet Federal Services May 2013-June 2014 Customer Service Representative Facilitated entitlement health insurance (Tricare) to Military Service Members, former Service Members and their families. Addressed incoming call requests through investigative procedures to ensure quality of services were met and adhered. Formulated statistical tracking reports to ensure policies and procedures were met. Verified requests for pre-authorizations and referrals met national Tricare approval services guidelines and submitted to healthcare provider. Maintained up-to-date knowledge of Tricare policies regarding payments, enrollments, claims processing, premiums and cost shares.
Pennsylvania Highlands Community College May 2005-May 2012 Adjunct Instructor and Academic Advisor Researched, prepared and presented lectures to students; compiled bibliographies of specialized materials for outside reading assignments. Managed course budget, by preparing semester budget report, developing budget proposal, as well as schedule and submit expenditure. Founded first LGBTQ student club and facilitated community engagement initiatives. Coordinated first LGBTQ festival on campus; recruited organizations and members from the community to show support for LGBTQ peoples. Managed team of 20+ volunteer advocates to ensure that they comply with program and college requirements.
Education
Masters of Science, Professional Leadership; Non-profit Arts Leadership Concentration from Carlow University May 2012
Bachelors of Arts, Fine Arts from Carlow University May 2005
Patrick A. Bochy 114 Noble Vista Drive, Apt. 202 ‖ Greensburg, PA 15601 [email protected] ‖ 724-456-9941
Work Experience WESTMORELAND MUSEUM OF AMERICAN ART, GREENSBURG, PA. 07/2019-Present: School Programs Manager 10/2018-06/2019: Executive Administrator/Manager of Special Projects 10/2016-10/2018: Chief of Staff 04/2014 10/2016: Assistant to the Director
❖ Creates and provides curriculum based, interactive tours for regional schools of all grade levels; cultivates relationships with regional school educators and administrators; created and works with the Teacher Advisory Council to develop curriculum content for tours and educational programs for K-12 schools; provides and coordinates Act 48 professional development workshops and special events/evenings for K-12 educators; contracts educators as needed for special curriculum content tours and for studio components related to tours. ❖ Responsible for all administrative aspects of the Museum’s tour program including scheduling reservations, transportation reimbursement, tracking of all data including tour participation and program expenditures; manages EITC budget. ❖ Supervises and manages the Museum’s docents; develops and implements all docent training and evaluation; provides orientation for incoming docents; tracks docent volunteer hours; organizes appreciation events. ❖ Assists with exhibitions and programming activities including historical research; writing labels for exhibitions; drafting and designing brochures. ❖ Provides general visitor assistance; enforces regulation and policies of the Museum. ❖ Assists with grant writing, fundraising strategies and organizing special events. ❖ Provides copy for publications and social media; participated in with the Museum’s new brand development. ❖ Facilitated the Office of the Richard M. Scaife Director/CEO; coordinated and worked closely with the Museum’s Board of Trustees; attended meetings with and in place of Director/CEO; acted as counsel and confidant to the Director/CEO. ❖ Established and maintained relationships with Board of Trustees, visitors, stakeholders, vendors and contractors. ❖ Volunteer coordinator; served as point of contact for incoming volunteers and provided orientation and onboarding; tracked volunteer hours; developed recruitment and retention strategies and activities; prepared and maintained files for each volunteer; coordinated with staff and ascertained volunteer needs and requirements; reviewed various volunteer programs and identifies areas of improvements; developing volunteer handbook. ❖ Responsible for planning, researching, coordinating, prioritizing and managing the implementation of short and long term projects; developed program evaluation handbook; coordinated and participated in the Museum’s strategic planning including drafting diversity and inclusion statement, oversaw the design and implementation of a Board of Trustees’ web portal. ❖ Served as weekend site manager. ❖ Coordinated the move of Museum staff, inventory and existing Furnishings, Furniture and Equipment (F, F&E) from temporary location to permanent site; managed $500,000 budget for and coordinated the purchase of new F, F&E.
YORK COUNTY HERITAGE TRUST, YORK, PA. 10/2010 – 04/2014: Museum Educator
❖ Provided interpretive tours and programs for all age groups of the Trust’s five museums and numerous murals; provided costumed interpretation and living history demonstrations; scheduled school and group tours; served as site manager for YCHT’s Colonial Complex; Completed daily site inspection, reported damage of sites and/or collections; performed maintenance and upkeep as needed. ❖ Organized, developed, and implemented education programs and activities for all ages; collaborated with schools and community organizations to develop outreach programs; collected oral histories of community members. ❖ Organized, coordinated, and supervised summer youth programs and camps; developed and facilitated History on the Table historic cooking workshop series. ❖ Assisted in developing and monitoring of program budgets; assist with grant writing. ❖ Recruited, interviewed, trained, evaluated, supervised and scheduled seasonal employees, volunteers and interns; recorded volunteer information at Colonial Complex; developed new volunteer training manual. 1 ❖ Assisted with curatorial duties such as exhibit research, design and installation; cared for and managed collections; wrote labels for exhibits. ❖ Opened and closed sites daily; provided visitor assistance; enforced regulation and policies of sites; provided inventory of gift shop; handled gift shop sales on a regular basis; operated and closed cash register on a daily. ❖ Provided copy for publications; assisted with program marketing; assisted with program funding, fundraising events, membership drives; provided new member orientations.
EISENHOWER NATIONAL HISTORIC SITE, GETTYSBURG, PA. 04/2012 – 10/2014: GS-5 Interpretation Park Ranger, Intermittent 08/2010 –10/2010: GS-5 Interpretation Park Ranger 05/2010 – 08/2010: Interpretation Intern
❖ Developed and presented interpretive programs to the public; tour groups range in size from 1 to 55 people and consist of varying age groups. ❖ Offered instruction for and guided volunteers and interns as necessary. ❖ Provided visitor services; helped children complete Junior Secret Service Program. ❖ Opened and closed site daily; enforced policies of the site; assisted in collection care and inventory; provided administrative support; performed site upkeep as necessary.
Professional and Volunteer Activities ❖ Leadership Westmoreland, Leadership Development Program, 2016-2017 ❖ Advisory Board, Chair, and Education Volunteer, The Lincoln Highway Experience, 2015-Present ➢ Works closely with the Executive Director to set policies for the Museum; drafted core policies for the site. ❖ Interpretation Volunteer, Compass Inn Museum, 2015-2018 ❖ Interpretation Volunteer, Eisenhower National Historic Site, 05/2011 – 04/2012 ❖ Archaeological Volunteer, Dills Tavern, 2011 ❖ Exhibit Design and Collection Management Intern, Shippensburg Historical Society, 01/2010-05/2010 ❖ History Content Advisor and Docent, Shippensburg Historical Society, 2009-2010 ❖ Volunteer, Fort Morris Archeological Project, Shippensburg, PA, 2009 Skills ❖ Extensive experience developing and providing interpretive tours and education programs for all ages and demographics ❖ Extensive experience collecting oral histories ❖ Experience in historic archeology ❖ Experience with living history demonstrations ❖ Experience with PastPerfect ❖ Experience with The Raiser’s Edge ❖ Knowledgeable of Microsoft software (Word, Publisher, Power Point, Excel, Project)
Education Shippensburg University of Pennsylvania, Shippensburg, PA ❖ Master of Arts in Applied History, August 2010
Morehead State University, Morehead, KY ❖ Bachelor of Arts in Geography and History, May 2006
2 BARBARA L. JONES The Westmoreland Museum of American Art 221 North Main Street, Greensburg, PA 15601 (724) 837-1500 x 120
EDUCATION M.A. Art History, Syracuse University, Syracuse, New York, 1987 Major Fields: 20th Century American and European Art M.F.A. Museum Studies, Syracuse University, Syracuse, New York B.A. University of South Carolina, Columbia, South Carolina, 1975 Major Field: Art Education: Minor Field: Studio Art
PROFESSIONAL EXPERIENCE CURATORIAL/OTHER October 1995- Westmoreland Museum of American Art, Greensburg, Pennsylvania present Chief Curator
1987-1993 The Adirondack Museum, Blue Mountain Lake, New York Guest Curator/Research Associate
March 1990 - Pei Cobb Freed & Partners Architects, New York, New York September 1995 Manager -- Drawing Archive and Library
January- The IBM Gallery of Science and Art, New York, New York March 1990 Assistant Curator, Building by Design: Architecture at IBM, National Building Museum Washington, DC, March - September 1990.
December 1988- The IBM Gallery of Science and Art, New York, New York December 1989 Assistant to Program Director, Cynthia Goodman
Summer The Solomon R. Guggenheim Museum, New York, New York 1986 Curatorial Department, Graduate Intern to Vivian Barnett
Fall-Spring Syracuse University, Syracuse, New York 1986/1987 University Art Collections, Graduate Assistant
TEACHING 2011 St. Vincent College, Latrobe, PA, Department of Fine Arts 2003 University of Pittsburgh Greensburg, Department of Fine Arts 1988 Hobart and William Smith Colleges, Geneva, New York, Department of Art 1986-1987 Colgate University, Hamilton, New York, Department of Art and Art History 1984-1986 Syracuse University, Syracuse, New York, Department of Fine Arts, T.A.
PUBLICATIONS Simple Pleasures: The Art of Doris Lee, contributor, forthcoming, 2020 Picturing America: Signature Works from the Westmoreland Museum of American Art, 2010 “Born of Fire: The Valley of Work” in Feuerländer: Regions of Vulcan, Oberhausen, Germany, 2010 Painting in the United States, 2008 Born of Fire: The Valley of Work, 2006 “Born of Fire: The Valley of Work,” American Art Review (August 2006): 110-117. Samuel Rosenberg: Portrait of a Painter, 2003, University of Pittsburgh Press/Carnegie Museum of Art “Samuel Rosenberg: Portrait of a Painter.” American Art Review (August 2003): 128-135. Nature Staged: The Landscape and Still Life Paintings of Levi Wells Prentice The Adirondack Museum, Blue Mountain Lake, NY, 1993 "Levi Wells Prentice." American Art Review (Fall 1993): 126-131.
BARBARA L. JONES Page 2 Abstraction, Non-Objectivity, Realism: Twentieth-century Painting from the Solomon R. Guggenheim Museum. The Picker Art Gallery, Colgate University, Hamilton, NY, 1987. (contributor)
SELECTED EXHIBITIONS Artists Who Teach, The Westmoreland Museum of American Art, 25 August – 28 November, 2018 The Art of Movement: Alexander Calder, George Rickey, Tim Prentice, 10 June - 17 September, 2017 A Passion for Collecting: Selections from the Richard M. Scaife Bequest, The Westmoreland Museum of American Art 25 October, 2015 - 14 February, 2016 All About Color and Geometry: Selections from the Diana and Peter Jannetta Collection, The Westmoreland Museum of American Art 25 October, 2015 – 17 April, 2016 Making The Westmoreland Museum of American Art, The Westmoreland Museum of American Art 25 October, 2015 – 17 April, 2016 103r d Associated Artists of Pittsburgh Annual Exhibition, Westmoreland Museum of Art @RT 30 June 1 – August 31, 2014 (juror and curator) Aaronel deRoy Gruber:Art(ist) in Motion, Westmoreland Museum of American Art 9 March – 2 June, 2013 Your Art Needs You! Westmoreland Museum of American Art 17 November 2012 – 17 February 2013 Associated Artists of Pittsburgh: Celebrating a Century of Art, 9 October 2009 – 10 January 2011. Concerning the 1930s in Art: Paintings from the Schoen Collection, 24 January – 16 May, 2010. Four Perspectives on Fifty Years, 27 September 2009 – 3 January 2010. The Gift of Art, 22 February – 24 May 2009. Painting in the United States, 29 June – 19 October, 2008. Made in Pennsylvania: A Folk Art Tradition, 23 June – 14 October, 2007 (with four guest curators) Artists of the Commonwealth: Realism and Its Response in Pennsylvania Painting, 1900-1950, 26 February – 21 May 2006. Along the Lincoln Highway. Westmoreland Museum of American Art, 7 March – 30 May 2004. Samuel Rosenberg: Portrait of a Painter. Westmoreland Museum of American Art, 29 June – 19 October 2003. Points of View: A Shared Vision: Photographs of Berenice Abbott and Hank O’Neal; Collaborative Portraits by Mark Perrott and Robert Qualters. Westmoreland Museum of American Art,23 February – 8 June 2003. Scenes of American Life: Treasures from the Smithsonian American Art Museum. Westmoreland Museum of American Art, 4 August – 13 October, 2002 (traveling exhibition through SAAM). Patterns in Time: Quilt Making in America. Westmoreland Museum of American Art, 24 February – 5 May 2002. Spirit of a Community: The Photographs of Charles “Teenie” Harris. Westmoreland Museum of American Art, 24 February – 10 June 2001. Face to Face: 20th Century Portraits. Westmoreland Museum of American Art, 6 August - 22 October, 2000. From Westmoreland Glass to Contemporary Glass. Westmoreland Museum of American Art, 13 February - 23 April 2000. Bicentennial Exhibition Celebrating Greensburg: 1799 – 1999. Westmoreland Museum of American Art, 22 August - 24 October 1999. 40th Anniversary Invitational. Westmoreland Museum of American Art, 6 June - 8 August 1999. Russell Smith: Pennsylvania Views. Westmoreland Museum of American Art, 25 July - 18 Oct. 1998. A Sense of Place. Westmoreland Museum of American Art, 21 July - 8 September 1996. Three Contemporary Pittsburgh Artists: Jane Haskell; David Ludwig; Charles Biddle. Westmoreland Museum of Art, 19 May - 7 July 1996. Nature Staged: The Landscape and Still Life Paintings of Levi Wells Prentice. The Adirondack Museum, Blue Mountain Lake, NY, 28 May - 15 October 1993. 50 Years of Collecting: Art at IBM. The IBM Gallery of Science and Art, New York, NY, September - 25 November 1989 Doug Evans 431 N. Main Street• Greensburg, PA • 15601-1898 CELL 724-516-4148• E-MAIL [email protected]
PROFILE Collections Management and Museum Professional with 20+ years of experience
EXPERIENCE Collections Manager, Westmoreland Museum of American Art GREENSBURG, PENNSYLVANIA- 1994 - PRESENT
Accessioning o Accessions gifts and purchases into the museum’s permanent collection o Organizes permanent written and database records for each object in the permanent collection (See Database Management) o Suggests objects for possible deaccession to Director and Chief Curator; arranges for their sale through public auction Exhibitions and Loans o Coordinates incoming exhibitions and loans to the museum, including transit, insurance, conditioning, storage, art handling, conservation, etc. o Oversees outgoing permanent collection loans, including transit, insurance, conditioning, storage, art handling, conservation, etc. o 2015: Jannetta Collection – photographed the collection with Richard Stoner; organized move from private residence to museum for reinstallation, planned crating, packing, transit; worked with building management and parking authority; managed team of art handlers, carpenters and crane operators to safely move collection. Traveling Exhibitions o Born of Fire: The Valley of Work . Managed and acted as courier for traveling exhibition of 60 works to multiple European venues over a four year period; coordinated transit, customs, insurance, art handling, conditioning, installation, etc. . Planned conservation of 11 oil paintings prior to travel o Hudson River School Private Collection . Managed traveling exhibition of 118 paintings to multiple US venues, including transit, insurance, unpacking/packing, conditioning; assisted with installation (placement); earned income (loan fees) for The Westmoreland o Picturing America: Signature Works from the Westmoreland Museum of American Art – fifty-seven works from the permanent collection to multiple US venues o Artists of the Commonwealth: Realism in Pennsylvania Painting, 1950-2000 – multiple venues throughout Pennsylvania; responsibilities, same as above. Conservation and Preservation o 2015: Prepared proper housing for Textile Collection following return to renovated building o 2014: In preparation for reinstallation of the Permanent Collection galleries, coordinated conservation of important folk art figure (Cigar Store Indian) and Redfield painting was cleaned & reframed o 2013-2014: Coordinated treatment of 17 paintings, 3 works on paper, 1 sculpture as a result of exhibition Your Art Needs You (using conservation surveys to create labels to educate/inform visitors and to invite their support). o 2012: Received NEA Grant; completed full survey of frames with Emilie Cohen, frame conservator, created a Condition Priority List o 2010: Full painting conservation survey funded by NEH completed with Christine Daulton, paintings conservator, created a Condition Priority List o 2009: Conducted a full conservation survey of The Joy and David Brocklebank Fraktur Collection with Janet English Heller, Oberlin, OH, and created a Condition Priority List Object Management o Monitors overall condition of the Permanent Collection o Oversees annual inventory of Permanent Collection o 2011: Reviewed collection of 2,000 toys for deaccession; planned transit for public auction o 2009: Completed partial appraisal of the Permanent Collection with Karl Gabosh, Senior Consultant of American Art at Phillips, dePury and Luxemborg, NY, and Betty Krulik, principal, Betty Krulik Fine Art, Ltd., NY.
Database Management o Acts as Collections Manager for the museum’s Collections Management System, EmbARK (Gallery Systems) to track objects and provide the public online access to records; maintains and regulates use Rights and Reproductions o Administers access to collection images for scholarly and commercial publications Special Projects o 2013-2015: Coordinated move, storage, and care of entire museum collection during a 2-year expansion and renovation campaign; allowed access, maintained safety and budget o Addressed previous fine art storage issues during renovation and helped plan new art storage in expanded museum Supervisory Responsibilities o Supervises full-time Registrar and part-time art handler, intern on occasion
Registered Rep, First Eastern Bank WILKES-BARRE, PENNSYLVANIA - 1991 - 1993 Securities Trader, First Eastern Bank WILKES-BARRE, PENNSYLVANIA - 1984 - 1993
Assistant to the Director, Sordoni Art Gallery WILKES-BARRE, PENNSYLVANIA - 1983 – 1984
PROFESSIONAL MEMBERSHIP Ex-officio member of Collections Committee, The Westmoreland Museum of American Art WESTMORELAND MUSEUM OF AMERICAN ART, GREENSBURG, PA
Member Bishop’s Commission, The Diocesan Heritage Center for the Diocese of Greensburg DIOCESE OF GREENSBURG, GREENSBURG, PENNSYLVANIA – 2015 - PRESENT
EDUCATION Bachelor of Arts, Art History Wilkes University, Wilkes-Barre, PA - 1984 BONNIE C. WEST 1609 Duffield Street, Pittsburgh, PA, 15206 (412)-862-7732 [email protected]
EDUCATION CURRENT STUDENT: JOHNS HOPKINS UNIVERSITY, Advanced Academic Programs, Master of Museum Studies Candidate
CHATHAM UNIVERSITY, April 2015 Bachelor of Arts in Visual Arts; Minors: Art History & Museum Studies Magna Cum Laude, College Honors GPA: 3.78
RELEVANT EXPERIENCE
THE WESTMORELAND MUSEUM OF AMERICAN ART, Greensburg, PA May 2017 – Present Curatorial Assistant Assist Chief Curator with budget, exhibition design, research, scheduling and writing Create exhibition checklists, scale models, wall labels, text panels and signage Maintain exhibition and artist files, artist and lender correspondence, and Collection Committee Reports Coordinate contemporary exhibitions in Robertshaw Gallery and work directly with the artists Project Coordinator for “Analog Scroll”, a public artwork installed bi-weekly in Greensburg
PINK MAILBOX STUDIOS, LLC., Pittsburgh, PA October 2015 – Present Working Artist / Owner Create original and custom works of art Organize and promote small art shows at my studio Professionally prepare, handle, transport, and install artwork
SWEETWATER CENTER FOR THE ARTS, Sewickley, PA January 2016 – October 2017 Receptionist / Festival Coordinator Developed and implemented strategic programming for our participation in local summer art festivals Designed and facilitated two large-scale community art projects as part of our festival presence Managed materials and classroom supplies inventory; corresponded with instructors
CURATORIAL EXPERIENCE
Artists Who Teach – The Westmoreland Museum of American Art 2018 The Art of Giving: Selections from the Richard M. Scaife Bequest – The Westmoreland 2018 Emigration, Immigration, Migration: Five Photographic Perspectives – The Westmoreland 2018 A Timeless Perfection: American Figurative Sculpture in the Classical Spirit – The Westmoreland 2017 The Art of Movement: Alexander Calder, Tim Prentice, and George Rickey – The Westmoreland 2017 Celebrating Chatham: Student Selections from the University Art Collection – Chatham University 2015 Beads, Seeds, and Leaves: Embellishment in African Art – Chatham University 2014
ADDITIONAL WORK EXPERIENCE
Independent Research/Writing Contractor, The Westmoreland Museum of American Art June 2018 – Present Studio Assistant for Cara Livorio, Artissima Studio, Pittsburgh, PA September 2017 – Present Studio Assistant for Ryan Lammie, Pittsburgh, PA October 2015 – April 2016 Server, Kelly O’s Diner, Pittsburgh PA June 2012 – August 2013
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BONNIE C. WEST 1609 Duffield Street, Pittsburgh, PA, 15206 (412)-862-7732 [email protected]
SELECTED ART EXHIBITIONS
Clearview Federal Credit Union, Sewickley, PA April – July 2017 Spring Quarter Consignment Artist
Spontaneous Combustion: Psychedelic Art Lounge – Pink Mailbox Studios, Glenshaw, PA December 2016 Duo-Show: Co-Artist and Co-Curator with Mira Moeller
RAW:Pittsburgh Presents Verve – Xtaza, Pittsburgh, PA September 2016 Installation Assistant to Ian West Photography
Sewickley Spring Gallery and Art Walk – Sweetwater Center for the Arts, Sewickley, PA April 2016 Selected Artist in Painted Adirondack Chair Silent Auction
Where is the Sky? – Pittsburgh Center for the Arts, Pittsburgh, PA April 2016 Installation Assistant for Sarika Goulatia
Degrees of Separation – SPACE Gallery, Pittsburgh, PA April 2016 Installation Assistant for Derek Reese
Student-Instructor Show – Sweetwater Center for the Arts, Sewickley, PA March 2016 Installation Assistant
RAW:Pittsburgh Presents Holiday Rawk – Pittsburgh, PA December 2015 Group Show
Layer Cake Festival – Ziggy Sawdust Productions, Pittsburgh, PA October 2015 Live Painter
First Annual West Allegheny Art Show – Elsen Studio, Pittsburgh, PA May 2015 Group Show
RETROVISION: A Techni-Color Introspective – Chatham University, Pittsburgh, PA April 2015 Solo-Show
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1210 Oak Street Connellsville, PA 15425 ASHLEY BAILEY (724) 322-5322 [email protected]
OBJECTIVE My objective is to secure a position with your organization where my related experience can be tested to meet your organizational goals.
PROFESSIONAL EXPERIENCE
THE WESTMORELAND MUSEUM OF AMERICAN ART, Greensburg, PA June 2019-Present Part-Time Executive Assistant Plan and coordinate Director’s schedule ❖ Provide high level customer service and support to all internal and external constituents including donors, prospects, and Board of Trustees Process Director’s invoices, check requests and monthly credit card transactions Coordinate and oversee Director’s travel Assist Director with Board and/or external constituent-related meeting preparations Work with Senior Team members to collect quarterly board reports Manage board portal Coordinate member travel program Greet guests and visitors to the Director’s office
ROOTS HAIR &NAIL SALON, Mt. Pleasant, PA/SALON NOUVEAUX, Connellsville, PA July 2014-Present Part-Time Nail Technician / Front Desk Manager Greet client’s, answer the phone and manage client’s scheduling Take inventory, order and restock products for salon services and retail shelves Check out clients and suggest and sell retail products to clients at the end of their service Promote salon services through social media Execute nail services for clients Execute end-of-day bookkeeping
FALLINGWATER, Mill Run, PA September 2016-January 2019 Sales & Events Coordinator Promote both Fallingwater and The Barn at Fallingwater through various marketing platforms, such as brochure development, attending trade/bridal shows, maintaining internal/external websites and social media posts Schedule and conduct tours of the venues to lead to the sale of the event location Serve as the point of contact for potential and current clients, along with all special event vendors Negotiate contracts and commissions with new and preferred vendors Manage the special event and housing calendar to ensure up-to-date details for staff Maintain all administrative duties related to special events, such as responding to emails and phone calls, invoicing, monthly budgeting, staff scheduling, etc. Oversee, assist and troubleshoot the coordination, planning and execution of each special event Develop and update contracts, floor plans, timelines, staff task lists, vendor lists, cost schedules, etc. through Microsoft Office
EXQUISITE EVENT PLANNERS CO., Pittsburgh, PA December 2009 – July 2014 Owner / Special Event Coordinator We were the exclusive event planning company for Frank Lloyd Wright’s, Kentuck Knob Handled all business related activities, such as bookkeeping through QuickBooks, sales and marketing, web-site development, yearly pricing and services, etc. Oversaw and assisted with all planning, coordinating and negotiating with vendors to meet the high quality expectations of our clients Negotiated referrals and commissions with new vendors Served as liaison with inside and outside vendors on event-related matters Prepared timelines, checklists, budget/cost sheets through Microsoft Office Managed on-site production, troubleshooting and acted as “behind-the-scenes” manager for each event
ENTERPRISE RENT-A-CAR, Pittsburgh, PA February 2008 – December 2009 Assistant Branch Manager Responsibilities at one of the most successful branches in Pennsylvania included: Maintained standing as one of the top 5 assistant managers at one of the top 10 branches Received cash bonuses for achievements and referrals Responsible for presenting benefits of protection packages to clients and closed sales Contacted current corporate clients to maintain customer relations Contacted new corporations to explain advantages of using Enterprise for their leasing needs Conducted interviews and hired new personnel Supervised ten persons in various positions
WELLS FARGO FINANCIAL, Philadelphia, PA January 2007 – February 2008 Credit Manager Generated 1.9 million in refinancing Received numerous monetary awards for outstanding performance Reviewed credit scores of current and past Wells Fargo clients to establish eligibility for various products Recruited at Career Fairs for future Credit Managers and conducted first interviews Team leader responsible for educating and motivating personnel
LICENSES: PA Notary License
EDUCATION INDIANA UNIVERSITY OF PENNSYVANIA, Indiana, PA Bachelor of Science Degree, Business Marketing Graduated December 2006
Personal and professional references available upon request Assistant Curator Reports to the Chief Curator Member of the Art Team
Embrace and advance the mission and strategic plan of the museum; Assist Chief Curator with development of the exhibition schedule; Organize special exhibitions, either individually or in collaboration with the Chief Curator; Conduct research for the development of exhibitions, both from the permanent collection and temporary exhibitions from outside sources; Assist with research, documentation and installation of the permanent collection; Conceive, research, and develop a quarterly exhibition program drawn from the works on paper collection; Research and write interpretive essays for publication as well as object labels, text panel copy for permanent collection and temporary exhibitions; Community Outreach: conduct gallery tours, public lectures, both in-house and community outreach, and otherwise engage with the public, i.e. visitors, donors, patrons, board members; Education: collaborate with Education team to develop interpretive materials and programs related to exhibitions and permanent collection; assist with docent training; Collections: Assist with research, documentation and installation of the permanent collection; work with Director/CEO, Chief Curator, and Collections Manager to develop a strategic plan for the collection; recommend and conduct research on proposed acquisitions; coordinate collection activities with Collections Manager. Marketing: collaborate with the Marketing team on publications relating to the permanent collection and temporary exhibitions including the member’s newsletter; Advancement: assist with grant proposal narratives; Foster and maintain active relationship with regional artists; keep abreast of current events and trends in contemporary art; Supervise curatorial interns and volunteers; Respond to public inquiries about works of art in the permanent collection and other duties as assigned.
Qualifications: Master’s degree in art history or museum studies; specialization in American art; Minimum of 3 years curatorial experience in an art museum setting; Demonstrated research and writing skills; Record of publication; Excellent oral and written communication skills; Excellent computer skills (Microsoft Office, Excel, web-based searches); Self-motivated, detail-oriented, accurate and well organized; Team player, ability to work collaboratively and independently; multi-task; Knowledge of professional museum practices and standards; Flexibility is a must; ability to work some evenings and weekends. Valid Pennsylvania driver’s license; Ability to lift 20 lbs.
Current organizational chart 2019/2020
Board of Trustees
The Richard M. Scaife Director/CEO
Assistant to the Director of Director of Events and Director of Education Director of Marketing Chief Curator Director of Finance Director of Facilities Director Advancement Visitor Experience & Visitor Engagement & PR
Accountant/Financial Membership & Grants Lead Gallery Host Manager of Art Preparator PT Curatorial Asst. PT Collections Manager Event Associate PT Events Staff PT Cafe Associate PT Shop Manager Studio Coordinator PT Custodian Analyst Manager FT/PT Communications
Membership & Assistant Collections HR Generalist/Payroll Gallery Host Public Programs Development Shop Associate Graphic Designer Manager PT Specialist Cooridnator Staff PT Coordinator
Manager of School IT Support Manager Clerical Assistant PT Programs PT
Accounting Assistant PT
6/30/2019
Exhibitions 2019/2020
We are presenting the following special exhibitions in the Cantilever Gallery over the coming year:
Associated Artists of Pittsburgh 107th Annual Exhibition (November 9, 2019 – January 26, 2020) - Established in 1910, the Associated Artists of Pittsburgh (AAP) is an artist member organization with over 590 members in the southwestern Pennsylvania region. Associated Artists of Pittsburgh (AAP) enhances the region’s cultural vitality and promotes visual arts excellence by showcasing artists’ work through contemporary exhibitions, providing community-based education programs, and facilitating a broad dialogue to engage artists with one another and the community.
African American Art in the 20th Century (February 15 – May 10, 2020) - This exhibition presents approximately 50 paintings and sculptures by 32 African American artists from the Smithsonian American Art Museum’s collection. The artists featured came to prominence during the period bracketed by the Harlem Renaissance and the Civil Rights movement. The means of these artists varied--from modern abstraction to stained color to the postmodern assemblage of found objects--and their subjects are diverse. These works were created at a significant social and political moments in America. Words of Howard University philosophy professor Alain Locke, novelist James Baldwin, the Reverend Martin Luther King, Jr., and their contemporaries provided insight and inspiration. In response, these artists created an image of America that recognizes individuals and community and acknowledges the role of art in celebrating the multivalent nature of American society.
Border Cantos (May 23 – August 16, 2020) - Border Cantos brings together the sights and the sounds of the Mexican-American border through a transformative and multi-sensory experience. Photographer Richard Misrach and composer/artist Guillermo Galindo began collaborating in 2011, after both artists had created bodies of work inspired by the Mexican-American border region and its human impact. Misrach’s large- scale photographs beautifully capture the various types of landscapes, textures, and experiences found across the almost 2,000-mile dividing line. But, by showing moments of disruption on the land, they also introduce a complicated look at policing the boundary. Galindo’s installation Sonic Borders is an original score for eight instruments, created out of discarded objects found and collected at the border. While the artists do not seek to provide the solution, they do provide insight into a place into which most people have never ventured and create a poignant connection that draws on our humanity. Simple Pleasures: The Art of Doris Lee (September 5 – November 29, 2020) - Simple Pleasures: The Art of Doris Lee presents the first major critical assessment of works by the artist Doris Lee (1905 – 1983). Lee was one of the most recognized artists in the country during the 1930s and 40s, and was a leading figure in the Woodstock Artist’s Colony. Co-curated by Barbara L. Jones, Chief Curator at The Westmoreland and Melissa Wolfe, Curator of American Art at The Saint Louis Art Museum, this loan exhibition will include approximately sixty-five works by the artist spanning from the 1930s through the 1960s from both public and private collections and be comprised of paintings, drawings, prints, and commissioned commercial designs in fabric and pottery. A fully illustrated, full-color catalogue will accompany the exhibition.
SPRING & SUMMER 2019 Museums provide expanded perspectives of past and present experiences, connect community and foster empathy, and provide a forum for people to experience the full range of human emotion. Museums are needed now more than ever. That’s why we’ve eliminated our admission fee. Wilson for members that are Best Friend level and Director’s Welcome higher. The inside back cover has more information. Join, renew or upgrade your membership today! Spring is a time of rebirth and renewal, and > On March 30, our new Café Marchand will open! We The Westmoreland Museum of American Art is have partnered with French Express in Latrobe to offer pleased to share our renewed vision for the future, a variety of sandwiches, salads, soups, quiches, cheeses including this new Museum publication. In the fall and pastries, as well as a variety of local craft beers and of 2018, the entire staff participated in a visioning wines. Learn more about the talented chefs Christophe workshop to develop our statement of purpose and Fichet and Nicolas Grunewald on page 10. generate ideas for the future, resulting in the new > Also beginning March 30, we will have NEW HOURS! mission and vision statement. To be more accessible to everyone, we will be open Mission: The Westmoreland Museum of American Art Wednesday–Friday, 11am to 7pm and Saturday–Sunday, offers a place to share compelling and meaningful 10am–5pm. We will be closed Monday and Tuesday cultural experiences that open the door to new ideas, (except for school groups and partner programs). The perspectives, and possibilities. café will be open during public hours, so join us after work for a light bite and happy hour. Vision: We imagine a world in which everyone feels > Beginning in April, the first Sunday of every month will valued and represented. be our new Community Day. These days are fun for all Over the past several months, we have developed ages and connect performance, hands-on studio and a three-year plan that outlines how we will fulfill our gallery activities, and other interactive experiences with mission and strive towards our vision. One step towards our collection and temporary exhibitions. Visit page 11 that effort is our featured spring exhibition Mingled to discover this upcoming series. Visions: The Photographs of Edward S. Curtis and Will > Our April and May Art on Tap will be extended to Wilson. Will Wilson, a contemporary photographer and include longer hours and different experiences every member of the Navajo Nation, photographs indigenous month. We launch our new Art on Tap concept with artists, arts professionals, and tribal leaders in direct the 1491s, a sketch comedy group that are self- response to the photographs by Edward Curtis, who was described as a “gaggle of Indians chock full of cynicism documenting Native American tribes at the turn of the and splashed with a good dose of indigenous satire.” 20th century. Wilson’s photographs acknowledge the As we move into summer, Art on Tap will take a break, beauty and artistry of Curtis, while directly challenging and we will launch Summer Saturdays, a new series of the assumption that Native American culture is static and free inter-generational outdoor events that will include frozen in the past. As an American art museum, we have music, movies, and more. Read more about it on page 11. the unique opportunity to probe at what it really means to be an American and, through our exhibitions and We hope these changes will provide all our guests with a programs, present a diversity of perspectives. variety of opportunities to engage with The Westmoreland. I look forward to seeing you at the Museum! In addition, this spring we have a variety of new amenities and programs to make your visit to The Westmoreland an exceptional experience, including: > On March 29, we will have our first Members Exclusive Wine Reception to celebrate the opening of Mingled Anne Kraybill Visions: The Photographs of Edward S. Curtis and Will The Richard M. Scaife Director/CEO
thewestmoreland.org / 1 Connecting Smaller The Westmoreland was invited to be a part of this initiative in 2017. The other partners are Allentown Art Communities to Museum, The Demuth Museum, Erie Art Museum, James A. Michener Art Museum, Palmer Art Museum, Reading Great Works of Art Public Museum, and The Trout Gallery. Coming together as a consortium offers the exceptional opportunity to Launched in 2017 with the goal of generating nationwide share collections, exhibitions, ideas and professional collection-sharing networks, the Art Bridges + Terra expertise with our audiences. Foundation Initiative is a joint grant program of Art The Westmoreland’s first focus exhibition to include Bridges and the Terra Foundation for American Art. loans from the partnership is The Outsider’s Gaze. On This initiative supports multi-year, multi-institutional loan from the Philadelphia Museum of Art are Penn’s partnerships, pairing a large metropolitan museum with Treaty with the Indians by Edward Hicks (above) and smaller museums that traditionally lack the opportunity Indian Encampment by Ralph Blakelock. (Read about or resources to work together. The purpose of these this exhibition on page 6.) We are excited to bring these partnerships is to engage local communities with artworks to our community! outstanding works of American art. Partners collaborate by sharing collections and resources to create a series of content-rich exhibitions of art combined with in-depth above: Edward Hicks (1780–1849), Penn’s Treaty with the Indians, c. 1830–1835 (detail); Oil on canvas, 17.5 x 23.5 inches; Collection of Philadelphia Museum of educational and interpretive materials to reach a broad Art, 125th Anniversary Acquisition. Gift of the McNeil Americana Collection, spectrum of audience interests. In addition, the Initiative 2007-65-7. This collaboration with the Philadelphia Museum of Art is made possible through the Art Bridges + Terra Foundation Initiative to share works fosters professional development and exchanges of American Art. among partners. opposite: Edward S. Curtis (1868–1952), Bear Bull—Blackfoot, 1926 (detail); Photogravure on Dutch Van Gelder paper, plate 640, 22 x 17.75 inches; For Pennsylvania, the Philadelphia Museum of Collection of the Dubuque Museum of Art, Dubuque, Iowa. Gift of Dubuque Art serves as the catalyst museum partnering with a Cultural Preservation Committee, an Iowa general partnership, consisting of Dr. Darryl K. Mozena, Jeffrey P. Mozena, Mark Falb, Timothy J. Conlon, consortium of eight museums across the Commonwealth. and Dr. Randy Lengeling, 2009.640
2 / Spring & Sumer 2019 Mingled Visions
This spring, The Westmoreland features two exhibitions that explore the role of artists in creating and reinforcing stereotypes of Native Americans.
Mingled Visions: The Photographs of Edward S. Curtis and Will Wilson, pairs two photographers who share a vision to produce a permanent record of Native peoples. Edward S. Curtis (1868–1952), a European American, made it his life’s mission to create “a comprehensive record of all the important tribes in the United States and Alaska who still retained a considerable degree of their customs and traditions.” He accomplished this through years of arduous fieldwork, at great personal cost and hardship, with the publication of The North American Indian. This ambitious project, conducted from 1907 to 1930, resulted in 20 volumes of text and 723 photogravure prints that document over 80 tribes the photographer interacted with over the course of 32 years.
thewestmoreland.org / 3 As evidenced in his extensive descriptions in each volume, Curtis closely studied customs, legends, folklore, traditions, music, home life, belief systems, and sacred ceremonies. He recorded them in pictures and sound, making between 40,000 and 50,000 photographs and 10,000 wax recordings, as well as film in the field, so that North American Indian culture would be preserved for the future. He felt an urgency to do this, because by the time that he began his project, all of the tribes that he photographed had already been forcibly removed from their land and were living on reservations. He feared that they were destined to be assimilated into European American culture and truly believed he was documenting a “vanishing race.” Complicating Curtis’ documentary project was, of course, his outsider’s gaze. Through such editorial choices as how he posed the sitters and staged the shots, the props and (sometimes inaccurate) clothing he included, and the specific people and scenes he captured, Curtis imposed his own, European American perspective of how Native Americans should be seen, not as they were in reality. The title “vanishing race” also signals a static culture, where Native Americans are fixed in the past. This is directly challenged by Will Wilson, a Diné photographer, who initiated the Critical Indigenous Photographic Exchange (CIPX) in 2012. The Westmoreland’s Public Programs Coordinator Mona Wiley spoke with Will Wilson to learn more about his project and motivation for creating the series.
top and opposite, left: Will Wilson (b. 1969), Sandra Lamouche, First Nations citizen of the Big Stone Cree Nation, Dancer, 2012 and How the West is One, 2012; both Inkjet prints, 50 x 40 inches; Collection of the artist above and right: Edward S. Curtis (1868–1952), The Bowman, 1915 and Chaíwa—Tewa, 1921; both Photogravure on Dutch Van Gelder paper, plate 365 and 414, 22 x 18.125 inches and 22 x 17.875 inches; Collection of the Dubuque Museum of Art, Dubuque, Iowa. Gift of Dubuque Cultural Preservation Committee, an Iowa general partnership, consisting of Dr. Darryl K. Mozena, Jeffrey P. Mozena, Mark Falb, Timothy J. Conlon, and Dr. Randy Lengeling, 2009.365 and 2009.414
4 / Spring & Sumer 2019 MW: Curtis conducted these ethnographic surveys, but the images tend to romanticize the indigenous populations he was photographing. Can we talk a little bit about why that is problematic? WW: I think the problematic aspect was that he was kind of fixing people in a time that wasn’t real. If anything, those images for me are a testament to the kind of resiliency of those people who were being photographed, because they’ve gone through some really intense times. I also think about that. I’m glad those images exist as a testament to the people who survived genocide basically. Mona Wiley: Can you provide an overview of the process of There’s something about the romance and the kind of creating the Critical Indigenous Photographic Exchange nostalgic nature of the images. Conversely, when he went Series (CIPX) and how it differs from Curtis’ work? to photograph Osage, it was the summer in Oklahoma, and they were all vacationing in Colorado, because they Will Wilson: One of the ways it differs is that the project were some of the richest people in the world because isn’t actually just of Native Americans, but it’s by a Native of their oil wells, but he didn’t want to photograph American photographer. But the people—the subjects— that reality. don’t have to be native. So when I think about these images, I think they’re all indigenous images, because I MW: Curtis has been identified as staging these scenes in make them. I framed it in relation to Curtis, because he’s his photographs, and he provided props to his subjects to always the elephant in room when it comes to images of tell a story. How does that differ from your subjects being Native Americans, just because his work was so prolific invited to bring their own props to tell their story? and well-known, and it’s enjoyed a sort of a revival since WW: Hopefully this project is a little more open, and its rediscovery in the ’70s. And so, in a sense, it’s strategic. it’s really about people choosing how to represent I evoke his name, because I know that institutions have themselves. I definitely don’t stage people. Most of my these collections, and they want to show them, and then subjects are shot straight on. They’re kind of engaging people have kind of gotten “woke.” They realize they the lens in a way that’s saying, “Here, this is who I am.” can’t just show this stuff un-contextualized. I was also interested in doing portraiture and was interested in the MW: In an article in National Geographic, you said that historical process. you never got tired of this process. At that point you had created 2000+ images. Do you still experience that feeling? MW: For those who are not familiar with the historical tintypes process can you provide a little overview? WW: I do. One of the cool things is I get to bring people into my dark room. They get to watch this. So I’m really WW: Basically I’m making my own 8 x 10-inch negative, kind of amazed by the magic that happens, and then I get in my case on a black metal plate. You make your own to feed off of other people’s excitement. It’s fascinating to emulsion, and it’s wet and gooey. You take the photograph, watch people react to it, too. So the answer is yes. I still and then you’ve got to immediately develop it. So you get totally jazzed. have to have a dark room with you wherever you go. There’s something about the wet plate process that’s The North American Indian Photogravures by Edward S. Curtis a little fickle. Kind of all this hovering and intervening, is a traveling exhibition organized by the Dubuque Museum of but there’s certain things about the process that are a Art, Iowa. little bit out of your control, and sometimes it’s magical, Will Wilson’s photographs are courtesy of the artist. and sometimes it’s frustrating. It’s just cool to have a The Outsider’s Gaze (see next page) is one in a series of hands-on, handmade, do-it-yourself kind of photography American art exhibitions created through a multi-year, multi- institutional partnership formed by the Philadelphia Museum that’s much slower in a digital age. I also get to share that of Art as part of the Art Bridges + Terra Foundation initiative. process. That’s part of the project. I get to show people how photography used to be, and there’s something Support for both exhibitions has been provided by the Hillman about that alchemy that’s pretty fascinating and kind of Exhibition Fund of The Westmoreland Museum of American Art. inspires me, when I get tired, to keep going. People just This project was completed in partnership with the Rivers of love to watch this magic happen. I mean, I really think it Steel Heritage Area. Funding was provided in part by a grant is magic. It’s totally chemical, but somehow people have from the Pennsylvania Department of Conservation and Natural Resources, Bureau of Recreation and Conservation, figured out there’s magic, and you kind of put it in a box, Environmental Stewardship Fund, administered by the Rivers and it’s really fun to share that with people. of Steel Heritage Corp.
thewestmoreland.org / 5 Outsider’s Gaze
An accompanying exhibition, The Outsider’s Gaze, brings together ten European American artists working in the mid-19th and early 20th centuries. Their paintings and sculpture explore the subject of Native Americans from different levels of authenticity. Their depictions range from overly staged and romanticized scenes, to caricatures. A few of the artists had direct contact with Native Americans, in some cases even living with tribes, and tried to remain true to individual and tribal identity. Others painted derivative scenes, where the figures and clothing were generic and more symbolic. Though some of the artworks stereotype Native Americans as “noble savage,” many of the artists in this exhibition were genuinely concerned about the fate of Native American culture as a result of discriminatory federal policies and western expansion. Works in the exhibition include Indian Encampment by Ralph Blakelock (opposite), on loan from the Philadelphia Museum of Art, and Taos Family, N.D. by Joseph Sharp, on loan from the Erie Art Museum.
above: Jesse Talbot (1806–1879), Indian Hunter, c. 1840s (detail); Oil on canvas, 19.5 x19.5 inches; Bequest of Richard M. Scaife, 2015.92 right: Artist unknown, Cigar Store Indian, c. 1860 (detail); Painted wood, 64 x23 x 16 inches; Gift of Mr. and Mrs. Paul Euwer, Greensburg in memory of Thomas Lynch, 1977.19
6 / Spring & Sumer 2019 Native American History south and north respectively. Additionally, there was also a strong presence from the Wyandotte Nation. in Southwestern PA Southwestern Pennsylvania in the mid to late 18th century was marred by conflict for both Europeans There’s no denying that Southwestern Pennsylvania is and Native Americans. The French and Indian War steeped in history. From The Whiskey Rebellion to Frank began in 1754, and its conclusion immediately followed Lloyd Wright, the region has it all. Just saying “Pittsburgh” by Pontiac’s Rebellion in 1763. Pennsylvania and Virginia conjures images of steel mills, coal barges, blue collar militias defeated the Shawnee, Delaware and Seneca- workers and immigrants. Men with names like Mellon, Cayuga in a conflict known as Lord Dunmore’s War, Frick, Carnegie, Heinz and Westinghouse established which started in 1774. Following the American Revolution, themselves and left their legacies on the banks of the Native Americans exerted significant resistance as Ohio, Allegheny and Monongahela Rivers. However, European Americans continued to expand west into long before the steel mills and the titans of banking and the Ohio country. industry claimed Pittsburgh, this region was home to By the turn of the 19th century, Pennsylvania’s several Native American tribes. Native American population was mostly non-existent. While Mound Building cultures were much more The tribes that once called Pennsylvania home were prevalent in modern day Ohio, evidence shows those displaced through broken promises, fraudulent treaties same cultures were also in Southwestern Pennsylvania. and conflict. The Westmoreland wants to acknowledge The Adena, followed by the Hopewell, left evidence the indigenous communities that were displaced from this of their respective cultures in mounds such as the one land, and has created a land statement. When you visit found in McKees Rocks. The Monongahela, the last of you will see and hear the following: The Westmoreland the Mound Building cultures in the region, were present Museum of American Art would like to acknowledge until the mid to late 16th century. While their fate remains that we currently gather on the traditional lands of the a mystery, it is believed they succumbed to European Adena, Hopewell, Monongahela, Delaware, Shawnee diseases or left the region due to trade pressure. and Seneca-Cayuga peoples. We hope this inspires Following the Mound Building cultures, Western our community to learn about our region’s past and Pennsylvania was left uninhabited for a number of years indigenous culture. before European settlements gradually forced Native Ralph A. Blakelock (1847–1919), Indian Encampment, c. 1890; Oil on Americans from their traditional lands to the region. canvas, 16x24 inches; Collection: Philadelphia Museum of Art, The The Lenni Lenape (commonly known as the Delaware), Alex Simpson, Jr., Collection, 1928, 1928-63-2. This collaboration with the Philadelphia Museum of Art is made possible through the Art Shawnee, and Seneca-Cayuga came from the east, Bridges + Terra Foundation Initiative to share works of American Art.
thewestmoreland.org / 7 Exhibitions
clockwise from top left: John Van Hamersveld (b. 1941), Various album covers designed while at Capitol Records Tom Persinger, Margie Dagnal, 2014 Nicole Czapinski, Phantom Limb, 2018 John French Sloan (1871–1951), Night Windows, 1910; Etching on paper, 5.125 x 6.75 inches; Gift of the Estate of Helen Farr Sloan, Courtesy of the Delaware Art Museum, 2008.278 Brenda Stumpf, Vessure, 2016 Peter Max (1937), Neo Man, n.d.; Serigraph on paper, 40 x 30 inches; Gift of David Hirsch, 1991.206
8 / Spring & Sumer 2019 Cantilever Gallery Mingled Visions: The Photographs of Edward S. Curtis & Will Wilson March 30–June 30, 2019 An intriguing comparison of two photographers capturing Native American life. The Outsider’s Gaze March 30–June 30, 2019 A small focus exhibition that sets the stage and provides context for the work in Mingled Visions.
Coming in July! Era of Cool: The Art of John Van Hamersveld July 20–October 20, 2019 Van Hamersveld has created influential and instantly recognizable work from a career in graphic design that found him immersed in the world of rock and roll as Art Director for Capitol Records.
Robertshaw Gallery Tom Persinger: The New American Farmer March 8–June 9, 2019 Opening Reception: Friday, March 8 > 5–7pm with Art on Tap An exploration of the changing face and practice of farming and local food in Southwestern Pennsylvania. This exhibition is held in conjunction with Sherrie Levine’s After Russell Lee, 1-60, on loan from Art Bridges and on view in the Post-1950s Gallery. Brenda Stumpf: Cavomyrt June 15–July 14, 2019 Opening Reception: Saturday, June 22 > 5–7pm with Summer Saturday Cavomyrt, derived from the phrase “cave of my heart,” is a series of elaborate wall assemblages that function as enchanted reliquaries to love, innocence and intimacy. Nicole Czapinski: An Illusory Pain in a Nonexistent Hand July 20–August 25, 2019 Opening Reception: Saturday, July 20 > 5–7pm with Summer Saturday Czapinski investigates illusions within perception and the complexities of consciousness, transforming something that first reads as a flat surface into something with volume and depth.
Carol R. Brown Gallery John French Sloan’s New York Through March, 2019 Drawings and prints by an artist best known for his depictions of gritty urban scenes. Face to Face April–June, 2019 Celebrating how artists see themselves and others with a range of expressive possibilities.
For more information on our exhibitions, visit thewestmoreland.org/exhibitions.
thewestmoreland.org / 9 Café Marchand Coming This Spring!
The Westmoreland is pleased to announce our new his dream of obtaining his Green Card and immigrating café! Named after our visionary founder Mary Marchand to the United States, where he eventually became a Woods, Café Marchand offers a variety of savory and citizen in 2006. sweet treats. Our culinary partner is the renowned Nicolas Grunewald worked under the tutelage of French Express, with Chef Christophe Fichet and Meilleur Ouvrier de France (Best Craftsman in France) Executive Sous Chef Nicolas Grunewald. 2000 winner Phillipe Jego. Nicolas helped him open the Café Marchand will feature walk-up coffee, wine restaurant in a 5-star hotel. In 2008, Nicolas realized his and beer service along with a variety of other craft dream of coming to the United States. Christophe and beverages. The rotating seasonal menu will feature hot Nicolas met at the St. Louis Club, a private city club in soups, quiches, freshly prepared foods, pastries and Missouri, where Christophe was the Executive Sous Chef. snacks with locally sourced farm-to-table ingredients. Hours of operation are during new Museum hours Guests can find seating throughout our entire first floor (starting March 30): 11am–7pm on Wednesday, Thursday, and, weather permitting, on the Museum’s terrace with Friday and 10am–5pm on Saturday and Sunday. spectacular views of downtown Greensburg. Christophe Fichet’s career began as Executive Chef Are you planning a group visit to the Museum? Café for the royal family of Qatar, serving at the palace of Her Marchand offers pre-arranged boxed lunches for small Highness Sheikha Mozah bint Nasser Al Missned. After groups. For more information or to host a private event, leading a team at an exclusive hotel/restaurant on the please contact our events department at eventrentals@ shores of Lac Leman in Switzerland, Christophe realized thewestmoreland.org or call 724.837.1500 x136.
10 / Spring & Sumer 2019 Events & Programs Get Amped-up
One of the great changes that is occurring with the other weeknight evening programs and experiences Museum’s programs is that there will be MORE of popping up each month. them! In addition, there will be much more variety to Another event receiving some amplification is the appeal to different interests and provide a diversity well-known series Art on Tap, which becomes Art on of experiences. Tap 2.0, held October through May, still on the second The two annual Family Days held in fall and spring Friday of the month. New extended hours of 5–9pm are increasing to become new monthly Community Days. will take effect come April, as well as added elements These Community Days provide activities for everyone of entertainment and activities, from performances by who wants to experience the Museum in a fast-paced the acclaimed comedy troupe the 1491s in April to salsa and fun-filled way. The galleries and Museum spaces will dancing lessons in May. Save the dates for the second be filled with everything from art-making, live music and Fridays in September and October to experience the surprise pop-up happenings to an outdoor petting zoo, Greensburg-wide MusicFest and the return of Art on dance performances and more. Every month will be a Tap featuring an Octoberfest extravaganza. different, but always lively, experience. Lastly, when Art on Tap goes on summer break On select Wednesday evenings, the popular adult for the months of June through September, Summer art classes called Pop-Up Studios will continue, featuring Saturdays begin! On June 22, July 20 and August 17, a different project each month and always a happy hour 7–10pm, the Museum transforms into an outdoor movie with wine, beer and food to keep your creativity fueled. venue at dusk with lots of pre-movie fun, including live Check out thewestmoreland.org/events to find out about music, a cash bar and food trucks.
thewestmoreland.org / 11 Youth Programs Community Events
Young Artists Class Community Day Art in a Lid Earth Month Saturday, April 6, 10am–noon Sunday, April 7, 11am–4pm Not all art is paint, paper, and clay. Come and discover what Take part in a fun-filled celebration of the arts, community you can do with a box lid and a bunch of doodads! and planet earth. Meet with the Greensburg Garden Center For children 7–10 years old and leave with a flower or some seeds to plant in your own $15 members/$20 non-members garden. Performance by Stage Right as well as upcycled art activities for all ages. Purchase a reusable tote and screen print Young Artists Class it yourself in our studio. Stay and enjoy the landscape in the Museum garden and those in the galleries. What Is Your Viewpoint? FREE Saturday, May 4, 10am–noon If we all draw the same object, why does it look so different? Greensburg ArtsWalk Is it who we are, where we are, or where we have been? Saturday, April 27, 10am–5pm This class will use observation skills to create art from Take a walk on the Arts side on this day of discovering all different viewpoints. that Greensburg has to offer in visual and performing art. For children 7–10 years old Join The Westmoreland, Westmoreland Cultural Trust and $15 members/$20 non-members Seton Hill University on this self-guided walking tour. Enjoy performances, art activities, food trucks and lots more as our Art Camp arts community comes together for this annual event. All About Animals FREE June 17–21, 9am–3pm Community Day Campers will look at animals in art throughout the Museum and explore a variety of media and techniques to create Celebrating Native American animal-inspired art. Plus, they’ll welcome a special visitor from the Humane Animal Rescue. Culture For children 7–9 years old Sunday, May 5, 11am–4pm $135 members/$155 non-members Join The Westmoreland and the Council of the Three Rivers Native American Center for a celebration of Native American Art Camp culture in our community. Enjoy Native American dance performances, music, storytelling, art activities and food. Back to the “Good Old Days” FREE Generous support for this project provided by June 24–28, 9am–3pm How did people spend leisure time without TV, computers, Community Day soccer or dance class? Campers will learn about interesting techniques, fun styles and some unusual materials used by Goodbye Pie Town folk artists. Have fun creating with wax, clay, paint and more! Sunday, June 2, 11am–4pm For children 10–12 years old A farewell celebration to Sherrie Levine’s After Russell Lee: $135 members/$155 non-members 1-60. The day includes food trucks, mechanical bull riding, a petting zoo, Blue Grass music and dancing. Enjoy pie samples For more information on all 2019 camps, from local bakers and purchase pies to take home! visit thewestmoreland.org/artcamps. FREE Generous support for this project provided by
12 / Spring & Sumer 2019 Chef Sean Sherman
Adult Studio Programs Culinary Experiences Pop-Up Studio Dinner with Chef Sean Sherman: Bag Painting with Chris Crites Reclaiming Native American Food Wednesday, April 10, 6–8pm Saturday, June 1, Reception: 6–7pm; Dinner: 7–9pm Crites, an internationally-shown artist from Seattle, gained Enjoy a dinner and discussion focusing on Native American acclaim in the art world by exploring tough subject matter cuisine sourced and foraged from local farmers and land. The through color theory in his paintings. Join us for a unique Sioux Chef team, Anishinaabe, Mdewakanton Dakota, Navajo, studio experience and create your own paper bag painting. Northern Cheyenne, Oglala Lakota, and Wahpeton Sisseton $20 members/$25 non-members Dakota members, have been committed to revitalizing Native American Cuisine. Chef Sherman, Oglala Lakota and Pop-Up Studio Founder of The Sioux Chef, will discuss Native American farming techniques, wild food usage and harvesting, cooking Gelli Plate with Wendy Milne techniques and native cultural history. This event is presented Wednesday, May 8, 6–8pm in partnership with Adelphoi Village, Repair the World and Add some dimension to your day by building layers of color 412 Food Rescue. and texture and printing from a “Gelli” plate. Your beautiful $50 members/$60 non-members printed paper will then be transformed into a collage. (advanced registration required) $20 members/$25 non-members Generous support for this project provided by
Pop-Up Studio Mother’s Day Brunch Ikebana Flower Arranging Sunday, May 12, 11:30am Enjoy a Mother’s Day brunch by Elegant Catering followed with Mickey Corb by a tour of selections from our permanent collection all Wednesday, June 5, 6–8pm featuring images of mother and child. Chief Curator Barbara Corb will introduce Ikebana, the Japanese art of flower Jones and Director of Education Joan McGarry will take you arranging. Each participant will create their own beautiful on a tour that celebrates the joy and trials of motherhood, arrangement, which they can take home to enjoy. including artworks by Mary Cassatt, Charles H. “Teenie” Harris and Samuel Rosenberg, and a few treasures from the vault. $20 members/$25 non-members $30 members/$35 non-members (advanced registration required)
To register or purchase tickets for these events, visit thewestmoreland.org/events or call 888.718.4253.
above, right: Charles H. “Teenie” Harris (1908–1998), Elsa Harris and Two Sons, Lionel and Vann at Presque Isle, PA, c. 1948 (detail); Gelatin silver print, 11 x 14 inches; Gift of Lionel Harris (artist’s son), 2013.2.H left: Sherrie Levine (b. 1947), After Russell Lee I-60, 2016 (detail), Giclee prints, 20 x 16 inches; on loan from Art Bridges
thewestmoreland.org / 13 Mickalene Thomas Chef Sean Sherman
Conversations Talk & Book Signing In Conversation: with Dr. Patricia DeMarco Will Wilson & Jami Powell Sunday, April 14, 2–3:30pm Sunday, May 19, 2–3:30pm As part of our Earth Month celebrations, DeMarco discusses Jami Powell is a citizen of the Osage Nation and the Associate “The Universal Rights of Mother Earth.” She’ll also be signing Curator of Native American Art at the Hood Museum of Art. copies of her book Pathways to Our Sustainable Future: She will sit down with Will Wilson to discuss the motivation A Global Perspective from Pittsburgh. for his Critical Indigenous Photographic Exchange (CIPX) and FREE the photographic process behind these tintype portraits. $8 members/$10 non-members Poetry Reading Generous support for this project provided by with Jacob Bacharach In Conversation: Wednesday, April 17, 6–7pm Celebrate National Poetry Month with a reading of Jacob Mickalene Thomas & Jose Diaz Bacharach’s poem, Ohr Ein Sof–Light Without End. Jacob’s Wednesday, May 29, 7:30–9pm poem is the current literary work featured on artist Janet The Westmoreland, in partnership with The Andy Warhol Zweig’s Analog Scroll on the N. Main Street bridge. Museum, presents a conversation exploring the artistic FREE practices and thematic and stylistic similarities between the work of Thomas and Andy Warhol. Diaz, Chief Curator at A True Indian: The Art, Artifice, The Warhol, and Thomas will discuss her and Warhol’s use of imagery appropriated from popular culture and art history & Politics of Edward S. Curtis’ as well as her Shug Kisses Celie, one of the newest works to North American Indian enter The Westmoreland’s collection. $8 members/$10 non-members Sunday, April 28, 2–3:30pm Generous support for this project provided by Dr. Shannon Egan, Director of Schmucker Art Gallery at Gettysburg College, will discuss Curtis’ work in relationship to varying perceptions and politics of the artist’s Native The (R)evolution of Indigenous American subject, as well as to photography’s inseparable and Food Systems of North America fraught connection with truth. Egan will provide a broader understanding of how carefully manipulated depictions of with Chef Sean Sherman Native Americans nonetheless pictured a “real” cultural truth. Friday, May 31, 7–9:30pm FREE at August Wilson Cultural Center The Westmoreland, in partnership with the August Wilson Tintype Demonstration & Cultural Center, presents a talk by Sherman, Oglala Lakota from the Pine Ridge reservation and the founder of Photoshoot with Will Wilson The Sioux Chef. Chef Sean is committed to revitalizing Saturday, May 18, 10am–5pm Native American cuisine. He is renowned nationally and Using a large-format camera and the historic wet plate internationally as a leader of a movement to completely collodion process, Wilson engages the public in the ritual redefine North American cuisine through the understanding interchange that is the photographic studio portrait. and utilization of indigenous food knowledge. Attendees must pre-register to be a portrait participant. $30 members/$38.75 non-members FREE Generous support for this project provided by Generous support for this project provided by
14 / Spring & Sumer 2019 1491s
Social Gatherings Art on Tap 2.0 The Museum Turns 60! Comedy Night with the 1491s Wednesday, May 29, 11am–7pm Friday, April 12, 5–9pm Stop by to celebrate The Westmoreland’s 60th Anniversary on Experience Art on Tap in a whole new way! This revamped the actual anniversary date of our official public opening in program includes two free drink tickets (cash bar after), 1959. Cupcakes and punch will be served, and please leave a music, scavenger hunts and light bites from Elegant note sharing a favorite Museum memory. Catering. Grab an adult sippy cup and experience FREE entertainment throughout the galleries. $10 members/$15 non-members NEW! Summer Saturdays Upgrade your Art on Tap ticket to include exclusive Saturday, June 22, 7–10pm access to a sketch comedy show by the 1491s! Their Art on Tap takes a hiatus June through September, and comedy sketches depict contemporary Native American life Summer Saturdays are rolling in. Be there for the kick-off in the United States, using humor and satire to explore issues of these FREE, once-a-month events with live music, fun such as stereotypes and racism (internal and external), tribal outdoor and in-Museum activities and a movie outside politics, and the conflict between tradition and modernity. beginning at dusk. Get ready for the June featured movie— Seating is limited! Jaws—by exploring nautical scenes found in the Museum. $20 members/$30 non-members FREE (includes your Art on Tap ticket) The fun will go on rain or shine. In the instance of rainy This Month’s Sponsor: Milanscape weather, we will move activities inside and the movie showing to the Community Room. Featured Organization: Hospaws Generous support for this project provided by
Art on Tap 2.0 To register or purchase tickets for these Salsa Night events, visit thewestmoreland.org/events Friday, May 10, 5–9pm or call 888.718.4253. Join Los Sabrosos Dance Co. as we salsa the night away in conjunction with the Great American Music Series. Latin American Rhythm band Gava’s Beat is a group of friends who share a passion for music and their Latin American roots creating a sound that invites people to have fun and enjoy. Your Art on Tap ticket includes two free drinks (cash bar after), delectable bites, dance lessons, and more! $10 members/$15 non-members This Month’s Sponsor: Standard Bank Featured Organization: Greensburg Community Development Corporation
opposite, top left: Edward S. Curtis (1868–1952), Noatak Kaiaks, 1928 (detail); Photogravure on Dutch Van Gelder paper, plate 718, 17.75 x 22 inches; Collection of the Dubuque Museum of Art, Dubuque, Iowa. Gift of Dubuque Cultural Preservation Committee, an Iowa general partnership, consisting of Dr. Darryl K. Mozena, Jeffrey P. Mozena, Mark Falb, Timothy J. Conlon, and Dr. Randy Lengeling, 2009.718
thewestmoreland.org / 15 Barbara enjoying Art on Tap with fellow attendees
Donor Profile: Barbara Ferrier
The Westmoreland could not be successful without Donating time is just as important if not more important the support of the community! In every Perspectives, than money. I see what the volunteers have been able to a supporter will be featured to pay tribute to all the do and admire each and every one of them. I also think work they do for the Museum. For this issue, we those who attend the various events are donors, and the recognize Barbara Ferrier and sat down with her Museum staff has certainly made it a “fun” way to donate to ask a few questions. this way.
How did you get involved with The Westmoreland? How has being a donor impacted your life? I got directly involved with The Westmoreland when I was raised to believe that we must give back, and I have Joan McGarry, Director of Education & Visitor continued what my parents taught me. I would encourage Engagement, and I had the chance to discuss a program everyone, no matter what they can give, whether it is incorporating the visual arts, music, dance, literature money, time or other types of support, to become or and science that I had long wanted to implement. continue to be donors. This resulted in a team effort, which culminated when What does The Westmoreland bring to the community? students from the Hempfield Area School District visited The Westmoreland and Joan incorporated music, dance I think The Westmoreland provides the public a place to and writing into the program as the students engaged in enjoy and learn to appreciate art through numerous and the visual arts. It was a dream come true for me. To show varied opportunities. I enjoy the exhibits and lectures my support, I donated funds during the capital campaign where I can learn from the artists themselves. I enjoy to the Center for Creative Connections. It is important to meeting folks at Art on Tap and participating in Pop- get young people connected to the arts. Up Studios. I can’t thank the Board, Richard M. Scaife Director/CEO, staff and volunteers enough for providing What is it like to be a donor? this gem in our community, and The Westmoreland can I feel an ownership in this community treasure. I only expand with our support. appreciate what those who have contributed in the past have enabled The Westmoreland to accomplish, and I To make a donation to The Westmoreland, contact want to insure the Museum is there for the future. While the Advancement Department at 724.837.1500 x130 I certainly cannot donate what others do, I feel that, if we or visit thewestmoreland.org/donate. each donate what we can, the whole community benefits.
16 / Spring & Sumer 2019 Clyde B Jones III ART as FASHION A Behind-the-Scenes View of the Met Gala and the Metropolitan Museum of Art’s Anna Wintour Costume Center
sponsored by The Committee for The Westmoreland Friday, May 24, 2019 > 6:30pm
You’re invited to a Red Carpet Cocktail Party, beginning with elegant hors d’oeuvres, cocktails, music and creations by Seton Hill art and fashion students. Next, move into the Community Room for a presentation by Clyde B. Jones III, the Metropolitan Museum of Art’s President for Institutional Advancement and organizer of the Met Gala. Get the behind-the-scenes scoop on the Gala and learn about the Anna Wintour Costume Center. Afterward, guests will have an opportunity to meet Mr. Jones while enjoying music and dessert. $150 The black-tie evening is limited to 125 guests. Charles Courtney Curran (1861–1942), By the Lily Mark your calendars now! For more information, Pond, 1908 (detail); Oil on canvas, 17 x 10 inches; Bequest of Richard M. Scaife, 2015.51 visit thewestmoreland.org/artasfashion.
thewestmoreland.org / 17 The Westmoreland Welcomes Rhonda Madden!
In January, The Westmoreland staff welcomed Rhonda Madden as the Museum’s new Director of Advancement. Rhonda comes to the position well prepared with extensive experience, including six years at the Pittsburgh non-profit Riverlife in the areas of both development and strategic initiatives. Rhonda has also held leadership positions in fundraising/development at the Allegheny Land Trust (Sewickley, PA), The Trust for Public Land (New York, NY) and the Academy of Natural Sciences (Philadelphia, PA). Throughout the course of her career, she has directly raised over $50 million in private and public contributions. In her spare time, Rhonda enjoys gardening and is a member of the Garden Club of Allegheny County. Additionally, she serves as a board member for Landforce, an organization dedicated to environmental workforce development. We are thrilled Rhonda has joined The Westmoreland family.
Inspiration Now and for the Future
Since 1959, when Mary Marchand Woods made the Museum’s first bequest, The Westmoreland Museum of American Art has received support from thoughtful individuals who, through including The Westmoreland in their will and estate planning, have helped ensure the Museum’s ability to inspire and engage visitors for generations to come. Inspire the next generation with your own legacy gift for The Westmoreland! For more information, please call the Office of Advancement at 724.837.1500 x130.
18 / Spring & Sumer 2019 Don’t miss the next destination in our travel program!
May 1–3, 2019
Join Anne Kraybill and Westmoreland Chief Curator Barbara L. Jones as we journey east to the Brandywine River Museum of Art in Chadd’s Ford, Pennsylvania. In addition to viewing the Museum’s permanent collection and the studios of N.C. Wyeth and Andrew Wyeth, guests can experience Brandywine’s latest exhibition, American Beauty: Highlights from the Richard M. Scaife Bequest, with a tour led by Jones and Brandywine Curator Audrey Lewis. Additionally, this two-night excursion will include a tour of Winterthur, Henry Francis DuPont’s boyhood home, now a preeminent museum of American decorative arts. Its latest exhibition, Costuming THE CROWN, features 40 costumes from the hit Netflix series. We’ll also tour the dazzling Longwood Gardens. $625 per person for double occupancy $725 for single occupancy Registration Deadline: March 20, 2019 For more information or to reserve your spot, please contact Patrick Bochy, Executive Administrator and Manager of Special Projects, at pbochy@ thewestmoreland.org or call 724.837.1500 x131.
The Museum Shop Has Mother’s Day Covered
From jewelry and handbags to scarfs and ceramics, the Museum Shop has the perfect Mother’s Day gifts for everyone on your list. Our shop is now featuring more variety than ever, and there is always something new. So stop in soon. Members save 10% on all regular price items.
thewestmoreland.org / 19 The Westmoreland Society Members Select Two Works of Art
The Westmoreland actively acquires works of art by considered a rejection of Abstract Expressionism. In new artists to expand the Museum’s collections and Alpha Red and Orange Alternates (1969), the red and the stories we can share. In order to do this, we rely on orange solid stripes seem to float in front of a misty the support of The Westmoreland Society membership atmosphere of sprayed color ranging from green at the program. Founded in 1986, the Society is dedicated bottom to purple at the top. The gradient color thins at to the collection, preservation and advancement of the center so the white gessoed canvas glows through American Art, meeting annually to select, vote on, and giving the work additional luminosity. purchase a work of art for the collection. In December, The Westmoreland Society members The December 2018 Westmoreland Society Dinner enjoyed a private gallery viewing of the works for featured two very different paintings for possible consideration, followed by dinner and a vote for which acquisition—Sudden Sun by Abstract Expressionist Mary painting would enter the collection. The winner was Mary Abbott and Alpha Red and Orange Alternates by Op Abbott, however contributions received that evening artist Francis Celentano. in excess of $13,000 enabled the members to vote on In the early 1940s, Mary Abbott took classes acquiring BOTH paintings. Fortunately, the vote was at Subjects of the Artist School, founded by Robert unanimous, and we are pleased to now own the two Motherwell, and soon after she made towering canvases paintings, which are on view in our Post-1950s gallery! characterized by sweeping brushstrokes that often merged into dense swarms of torrid, sensuous color. If you want to be a part of this exciting annual event Part of the Abstract Expressionist movement, Abbott and help the Museum continue to build its collection rejected representational art in favor of gesture which of American art, please join The Westmoreland Society communicated her emotional state. Sudden Sun (c. 1958) today! For more information, contact our membership is a subtly recognizable still life subject that has been department at [email protected] or abstracted to convey the artist’s pure joy of color and call 724.837.1500 x127. impasto pigment. Francis Celentano gained fame with his inclusion left: Mary Abbott (b. 1921), Sudden Sun, c. 1958; Oil on canvas, in the Museum of Modern Art’s 1965 exhibition The 30x20 inches; Gift of the Westmoreland Society, 2018, 2019.1 Francis Celentano (1928–2016), Alpha Red and Orange Alternates, Responsive Eye which included artworks that emphasized 1969; Acrylic on canvas, 35x48 inches; Gift of the Westmoreland the viewer experience of perception. He and his fellow Society, 2018, with additional funds from Mr. and Mrs. John Eichley, Scott and Pam Kroh, Mr. and Mrs. Paul Nickoloff, Dr. and Mrs. Op artists focus on the audience rather than self was Michael Nieland, Mr. and Mrs. Wayne Wiester, 2019.2
1720 / / Spring Spring & & Sumer Sumer 2019 2019 Discover More as a Member!
Membership keeps you up to date on all that is happening at The Westmoreland, with behind-the-scenes access to exhibitions and invitations to exclusive member events. Members receive: • access to member prices for all events and programs, including Art on Tap, Children’s Art Classes and Pop-Up Studios, among others! • member discounts in our Museum Shop • behind-the-scenes tours • 10% off at the Museum’s Café Marchand Most importantly, your membership is philanthropic and supports Free Admission for All. Join Today as a Best Friend-level member and receive an invitation to the Exhibition Preview for Mingled Visions: The Photographs of Edward S. Curtis & Will Wilson on Friday, March 29, 6:30–8pm. For more information on The Westmoreland’s Membership Program, visit thewestmoreland.org/membership.
Go Green with a Digital Membership: The Westmoreland is now proud to offer an environmentally friendly digital membership option to our members. With a digital membership, your “card” is sent via email and is stored on your smartphone. Having a digital membership card is convenient, because as long as you have your phone, you have your membership card. All messaging, including renewals and notifications about member events, are sent directly to you through notifications. Plus, going digital reduces our need for paper letters and plastic cards! Switching to a digital membership is as easy as checking the option on our membership brochure or on our online membership form. For more information about our digital membership program, contact our Membership Department at 724.837.1500 x117. 221 North Main Street, Greensburg, PA 15601 724.837.1500 thewestmoreland.org [email protected] Hours (starting March 30): Wednesday–Friday: 11am–7pm Saturday–Sunday: 10am–5pm Closed Monday and Tuesday Follow us on:
Want to stay informed with the latest news, exhibitions and events? Visit thewestmoreland.org and subscribe to our email list. The Westmoreland Museum of American Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency.
front cover, top left and bottom right and below: Edward S. Curtis (1868–1952), Hónovi—Walpi Snake Priest, with Totókya Day Painting, 1921 and Chief Joseph Nez Percé, 1903 and Cañon de Chelly—Navaho, 1904; Collection of the Dubuque Museum of Art, Dubuque, Iowa. Gift of Dubuque Cultural Preservation Committee, an Iowa general partnership, consisting of Dr. Darryl K. Mozena, Jeffrey P. Mozena, Mark Falb, Timothy J. Conlon, and Dr. Randy Lengeling, 2009.408 and 2009.256 front cover, top right and bottom left: Will Wilson (b. 1969), Insurgent Hopi Maiden, Talking Tintype, Critical Indigenous Photographic Exchange, 2015 and Chairman John Shotton, 2016; both Inkjet prints; Collection of the artist
Mingled Visions The Photographs of Edward S. Curtis & Will Wilson
An intriguing comparison of two photographers capturing Native American life. March 30 –June 30, 2019