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Tracing the Past in Fair Oaks: Interpretation and Exhibit

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Tracing the Past in Fair Oaks: Interpretation and Exhibit TRACING THE PAST IN FAIR OAKS: INTERPRETATION AND EXHIBIT DESIGN IN A LOCAL HISTORY MUSEUM A Project Presented to the faculty of the Department of History California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in History (Public History) by Sarah Christine Starke SPRING 2013 © 2013 Sarah Christine Starke ALL RIGHTS RESERVED ii TRACING THE PAST IN FAIR OAKS: INTERPRETATION AND EXHIBIT DESIGN IN A LOCAL HISTORY MUSEUM A Project by Sarah Christine Starke Approved by: ________________________________________, Committee Chair Patrick Ettinger, PhD. ________________________________________, Second Reader Christopher Castaneda, PhD. _____________________ Date iii Student: Sarah Christine Starke I certify that this student has met the requirements for format contained in the University format manual, and that this project is suitable for shelving in the Library and credit is to be awarded for the project. _____________________________, Graduate Coordinator _______________ Patrick Ettinger, PhD. Date Department of History iv Abstract of TRACING THE PAST IN FAIR OAKS: INTERPRETATION AND EXHIBIT DESIGN IN A LOCAL HISTORY MUSEUM by Sarah Christine Starke This thesis explains the process by which I worked as a historical consultant to plan, design, and fabricate two exhibits for the Fair Oaks Historical Society’s new History Gallery. The first exhibit was a permanent exhibit that highlighted the history of Fair Oaks, titled “Traces of the Past: History of Fair Oaks.” The second exhibit, titled “Nourishing the Dream: Water and the Development of Fair Oaks,” was a temporary exhibit on the role of water in the development of Fair Oaks. This thesis reviews the literature on museum studies and exhibit design that I used to guide my work. In preparing these exhibits, I conducted primary and secondary source research, produced narratives, created interpretive panels, and selected artifacts from the Historical Society’s collections for display. _____________________________________, Committee Chair Patrick Ettinger, PhD. ______________________ Date v PREFACE My first two internships for the Public History program focused on archival work. I enjoyed discovering photographs and records and preserving them for future research use. I also helped conduct preliminary research for patrons of the archives. During my internship at the Roseville Public Library History Room, I was offered a chance to design a small exhibit marking the centennial of the local Carnegie library. I found that I enjoyed the exhibit design more than archiving historical documents. I conveyed this to my former Museum Studies instructor Larry Bishop, who worked as a museum technician at the California Museum and also taught our class in the program. During the summer between my first and second year in the program, Bishop offered me an apprentice-type position with him on his consulting project for the Fair Oaks Historical Society. The Society secured a building in Historic Fair Oaks and was interested in turning it into a museum and venue for meetings and events. Most importantly, they wanted to display some kind of historical exhibit that gave credit to the Fair Oaks Water District, which had donated the building. The Historical Society contacted Bishop, who asked for my help. My role in this project was not to be an intern; rather, Bishop offered me the project and creative control over the process and design; he would “shadow” me and supervise my work. In October, we began our work. The decision to make this project my thesis project was easy. Although I feel I have contributed a lot to the public history field as a graduate student, this is clearly the most important accomplishment I have achieved during my time in the program. The project also presented me with the greatest challenges—both academic and personal—I vi have ever faced. During the process I discovered a passion for this type of work and also learned that it comes naturally to me. I hope to make exhibit design part of my career as a public historian. vii DEDICATION To Zack and Sherman viii ACKNOWLEDGEMENTS I am forever indebted to several individuals for making this project successful. My dad sat with me for hours strategizing ways to be a good consultant creating an excellent product for her clients. He was the picture-perfect example of professionalism at all times and inspired me greatly. As my biggest cheerleader and a former graduate student who also completed a master’s thesis project, my mom cheered me on every step of the way, even when I didn’t realize there were steps worth cheering. She provided invaluable support when I needed it the most. My sister, even from thousands of miles away, sat with me on Skype for hours discussing the ins and outs of my project, giving me strength and comfort during the stressful times and laughter and joy during the good times. I am also very grateful for the guidance and inspiration from Larry Bishop, who taught me everything I needed to know to launch a career in this field. I have always been in awe of his talent and drive and I know that in the future, when faced with an exhibit problem that requires focus and creativity, I will always ask myself, “What would Larry do?” Additionally, I am grateful for the support and friendship of Lola Aguilar, who was my practice audience for presentations, helped me pronounce names correctly, and gave extremely valuable input and direction to my work. I would also like to thank Ralph Carhart for his patience, kindness, wisdom, and guidance. He worked diligently to ensure that my needs were met during this project, and went out of his way to accommodate all parties involved in the creation of the exhibits. ix I will always be grateful for the guidance and wisdom of Dr. Patrick Ettinger. Dr. Ettinger listened to my problems and gave me the green light to make some tough decisions as a historian. Throughout my three years in the program, I have always been able to count on Dr. Ettinger to help me grow as a public historian and to nudge me in new directions that open up a wide array of possibilities for my career. I am also grateful for the input and wisdom from Dr. Christopher Castaneda, who was my second reader and had excellent advice regarding the stickier situations that arose in my project. Dr. Castaneda was a wonderful source of guidance and support both in his classes and his role as a reader for this project. Finally, I am eternally indebted to my husband Zack. A historian himself, he edited text, gave me additional insight into my interpretations, gave me hugs when I was stressed, attended my presentations, and helped me identify potential primary and secondary sources that might help my exhibits. He made me laugh, he helped me write difficult emails, and he took our dog on walks when I simply was too stressed and short on time to do it myself. He gave me so much support and love during this project that I worry I might not ever be able to repay him, but I will try for the rest of my life. x TABLE OF CONTENTS Page Preface............................................................................................................................. vi Dedication....................................................................................................................... viii Acknowledgements......................................................................................................... ix Chapter 1. THE HEART OF CALIFORNIA: A HISTORY OF FAIR OAKS............................... 1 Early Inhabitation (Pre-contact to 1895).................................................................. 1 Settlement and Colonization (1895-1914)................................................................ 6 The Agricultural Era (1895-1932)........................................................................... 11 Modernization and Postwar Suburbanization (1940-1970)..................................... 15 Conclusion............................................................................................................... 19 2. MUSEUM LITERATURE........................................................................................... 22 Contemporary Museum Practices............................................................................ 23 Role of the Museum................................................................................................ 28 Conclusion............................................................................................................... 40 3. EXHIBIT DESIGN LITERATURE............................................................................. 42 Collecting................................................................................................................. 42 Interpretation........................................................................................................... 46 Exhibit Design......................................................................................................... 53 Visitor Experience................................................................................................... 64 Conclusion............................................................................................................... 70 xi 4. HISTORY GALLERY PROJECT: PLANNING......................................................... 71 5. HISTORY GALLERY PROJECT: DESIGN AND FABRICATION......................... 78 6. CONCLUSION............................................................................................................
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