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HomeMy WebLinkAbout8.2 MAP-Ph IIIC~~~ OF DU~~~ 19' ~~~ ,82 `~~~1 AGENDA STATEMENT l~ HERITAGE AND CULTURAL ARTS COMMISSION 04LIFOR~~D MEETING DATE: May 10, 2012 SUBJECT: Museum Assessment Program (MAP) -Phase III Prepared by Ann Mottola, Heritage and Cultural Arts Manager and Elizabeth Isles, Heritage Museums Director ATTACHMENTS: 1. Heritage Museum 2011 CMAP Report 2. MAP Phase III Matrix RECOMMENDATION:. Receive report and provide input on the draft implementation plan FINANCIAL STATEMENT: None DESCRIPTION: In 2010, Staff applied for and received a Collections Stewardship Assessment, which is Phase III of the Museum Assessment Program (MAP) sponsored by the American Association of Museums (AAM). The purpose of this assessment was to focus on collections policies, planning, access and documentation within the context of the museum's total operations. The MAP program is funded by the Federal Institute of Museum and Library Services (IMLS) and throughout its 30 years has been administered by the AAM. As part of the IMLS National Leadership program, MAP advances best practices and fosters improvement in museums. MAP is aself-motivated program. Application to and participation in MAP is initiated by each local institution, and those accepted invest considerable human and institutional resources into the assessment. MAP is a confidential process of self-study, peer review and implementation. Museums use the assessment process to strengthen operations, build capacity, and enhance communication throughout the organization and respond to community needs. "Studies have shown America's museums to be among the country's most trusted and valued institutions. MAP is designed to make them even better." Ford W. Bell, president of AAM The Dublin Heritage Park and Museums has now participated in all three of the MAP Phases: Phase I - Organizational Assessment (2006), Phase II -Community Engagement (2009) and Phase III - Collections Stewardship (2011). The MAP process has empowered the museum to better serve the residents of Dublin by facilitating the meeting of the highest professional standards of the museum field. Each Phase of the MAP program has three stages: Self Study, Peer Review and Implementation. The Phase III Self-Study and Peer Review stages were completed in 2011. The Peer Reviewer, or Surveyor, chosen for the Dublin Heritage Museums MAP was Ms. Cindy Olsen. COPIES TO: ITEM NO: 8.2 C:\Documents and Settings\christiem\Local Settings\Temporary Internet Files\Content.0utlook\41 HV178E\5-10-12 8 2 Museum Assessment Program.doc. Role of the Commission ' Section VII of the Bylaws defines the specific Heritage and Cultural Arts programmatic and operational areas where the Commission may make recommendations to City Council. Section VIII of the Bylaws defines the role of the Commission as an advisory body to the City Council and further states the bylaws establishing the Commission shall not be "construed as a limitation on the power of the City Council or the Administrative Staff of the City or any other agency in their supervision, or authority over property or personnel which are under their respective jurisdictions." For example: • The Commission may recommend a revision to the selection procedures for a public art project. The Commission may not recommend the creation of a new public art program. • The Commission may recommend featured exhibits at the Heritage Park Museum based on the City's existing collection and resources. The Commission may not recommend the creation of an exhibit for which there is no acquisition budget, or a new program for which there is no staffing. Focusing on the City Council Strategic Plan The Ten-Year Strategic Plan (Plan) process approved by City Council in December 2010 reinforces the advisory role of the Commission to make recommendations on existing, funded programs. Any potential recommendation that would have a financial impact, either operationally or programmatically must be recommended as part of the Strategic Plan process. The purpose is to provide a process to analyze programs and services to ensure the City's limited resources are focused on the most important initiatives that will provide the most benefit to the community. To further clarify, in December 2010 the City Council directed Staff to move forward with a new budget preparation process that enhances alignment of budget funding decisions with the City Council's adopted Ten-Year Strategic Plan (Plan). The process focuses on achievement of the specific Strategies outlined in the Plan, versus an annual review of Goals and Objectives, which Commissioners had previously taken part in reviewing on an annual basis. As outlined in the December 7, 2010 City Council Staff Report, this new focus on the Strategic Plan resulted in modifications to both the biennial Strategic Plan update process and the budget preparation process, including City Council consideration of budget initiatives rather than Goals and Objectives. The Plan process now includes solicitation of input from City Commissions prior to the City Council's adoption of the Strategic Plan every two years. The next review and update of the Ten-Year Strategic Plan will begin in January 2013 and after adoption will be effective July 1, 2013. A further change to the budget preparation process took place in March 2011. At that time the City Council directed Staff to move forward with preparation of a two-year budget. The two-year budget process will more fully integrate the City's Strategic Planning process with the budget process, increasing support for long-range fiscal planning around the Strategic Drivers. The two-year budget will also provide the City Council with a look beyond the one-year time frame of operating programs and capital improvement projects. This longer-range time frame provides the opportunity to see costs in greater totality and better plan for future fiscal sustainability. The budget process now includes two study sessions rather than one providing the City Council with an opportunity to further review and consider budget initiatives, both Strategic and Operational, before funding is iricluded in the preliminary budget document. This change also provides an additional opportunity for public input into budget issues prior to adoption of the budget. City Commissioners are encouraged to attend these meeting to weigh in on the future strategic direction of the City. RECOMMENDATION: Staff recommends the Heritage and Cultural Arts Commission receive the report. 2 of 2 Collections Stewardship Assessment Final Report 2017 AMERICAN AS~€Jr~IATt~I'~J O~ MUSEU!`~I Congratulations on the hard work you have put into completing MAP! Enclosed is your final assessment report from your peer reviewer. I hope that you will find the report's content helpful to your organization as you move towards best practices and meeting national standards. Your peer reviewer has written a set of recommendations and resources that will hopefully provide you with the direction and insight that you were seeking through the Museum Assessment Program. In addition to your report, MAP staff has also included a grant proposal writing guide and a list of state specific resources to help you implement your MAP report. We hope that these materials will supplement your other MAP resources, including access to the AAM Information Center, AAM 2010 and 2011 on-demand Museum Essentials Webinar series, and your MAP bookshelf. Remember that you can access the AAM Information Center through the rest of the year by using the username and password: mapeell. You can also contact them directly at infocenter@aam-us.org with questions and for sample documents. Please mention that you are a MAP participant. This benefit can be extended through AAM Institutional Membership. Your peer reviewer is another wonderful resource. This relationship should not end now that you've received your report. Feel free to contact your reviewer to discuss your report and next steps. You can also consult MAP staff with any questions at 202-289-9118 or map@aam-us.or~. Thank you for participating in MAP, and we hope to work together again. Kind Regards, Jill Connors-Joyner Assistant Director, Museum Assessment Program 1575 EYE STREET NW, SUITE 400, WASHINGTON DC 20005 PHONE: ZO2.2H9.1S1S Pax: 202.289.6578 WWW.AAM-US.ORG Collection Stewardship Museum Assessment Program American Association of Museums Dublin Heritage Park & Museums Dublin, CA Surveyor: Cindy Olsen Dates: August 17 & 18, 2011 EXECUTIVE SUMMARY The Dublin Heritage Park & Museums is an expanding museum in a rapidly expanding city. The newly expanded park is serving as a museum and a valuable community resource. They hold several historic buildings, a cemetery and a small artifact and archival collection. In terms of collection stewardship, they are doing a remarkably good job with an extremely small staff and a core of dedicated volunteers. My assessment below offers suggestions that will be needed to meet the demands of the expanded museum and to help it move forward in the coming years. INTRODUCTION The purpose of a Museum Assessment Program's Collections Stewardship Assessment is to "focus on collections policies, planning, access and documentation within the context of the museum's total operations." The scope of the assessment includes collections care and use, acquisitions and deaccessioning, legal, ethical, and safety issues, documentation, inventory, and emergency planning. This report summarizes the findings of my review at the Dublin Heritage Park and Museums. In addition to the visit, the following documents were reviewed prior to the visit: • MAP Application • MAP Self Assessment • Dublin Heritage Park and Museums website www.dublinherita~e.or~ • Newsletter publication of the Dublin Heritage Park & Museum • Public Dimension MAP Report from January 25, 2010 • Institutional Assessment MAP Report from February 2006 • Organizational Chart for the Dublin Heritage Center • Resume of Elizabeth Isles, Director of the Dublin Heritage Center • Collection Donor Form for the City of Dublin Heritage Park & Museums • Collections Management Policy and Procedures for the Dublin Heritage Center dated July 2008 • Financial worksheets for Fiscal Year 2012 for the line items included in the City of Dublin, California, for the Dublin Heritage Parks & Museums The site visit took place on August 17 & 18, 2011. During the first day, I met with Elizabeth Isles, Director, who was the primary contact for the assessment and the only full-time staff member at the museum. The first part of the day included a meeting with Ms. Isles about goals of the visit and current operations and touring the facilities including the Murray School House, the Pioneer Cemetery, Kolb Hay Barn, Sunday School Barn, Kolb House, and the Old House. Collection storage was located in a storage building behind the Murray School House and inside a room in the Kolb House. 2 On the afternoon of the first day, I met with three volunteers, Terry Berry, Steve Minniear and Desiree Claret', who do the majority of the work with the collections. I had meetings with them as a group and separately to try to address all their concerns about working with the collection and the future of their work. On the second day, I met with John Hartnett, the City of Dublin Heritage & Cultural Arts Manager, who oversees all the parks in the city. I spent the remainder of the second day looking at the exhibitions, collections storage spaces, analyzing the record keeping process and looking in-depth at their preservation resources, storage spaces and record keeping practices. Mission & History The Mission of the Dublin Heritage Park & Museums Center is "to collect, preserve and interpret the material culture of Dublin to provide a historical and cultural focal point that will enrich the community. The mission shall be accomplished by using permanent collections, the Murray School House, Old Saint Raymond's Church, and Pioneer Cemetery. The mission shall further be accomplished through temporary exhibits that reflect a broad scope of topics, programs that relate to Dublin and its history, and by encouraging the preservation of other historic sites in Dublin." The City of Dublin has been inhabited since 500 A.D. by Native American tribes. The Spanish arrived in the area in the mid-1700s. In 1846, Irish pioneers arrived and in the 1870s German and Scandinavian settlers arrive. Despite the lengthy settlement pattern, the City of Dublin wasn't incorporated until 1982. The City of Dublin sits at the crossroads of two major highways in the San Francisco Bay Area and has a current population of just over 48,000 residents and is the fastest growing city in Alameda County with continued growth expected. The history of the museum starts in 1972 when a group of volunteers called the Dublin Historical Preservation Association moved the Murray School House to the property that included the St. Raymond's Church and Pioneer Cemetery and unofficially established a museum. In 1993, the City of Dublin was asked to take over operations and the Dublin Heritage Center was formed. In early 2011, the park was expanded with four more acres around the Heritage Center and a 1910 Craftsman Bungalow, 1870 Barn, 1900 studio as well as lawns, gardens, walkways, picnic areas, historic farm equipment exhibit and an outdoor stage. The expanded site was renamed the Dublin Heritage Park and Museums and opened in July 2011. It had been operating under the expansion for approximately one month before my site visit. Institutional Objectives The institutional objectives as stated in the application are: • Records Management -need to work out a feasible procedure for accessions and cataloging plus reconcile found in collection items with recovered donation receipts. • Review the preservation techniques and work to improve climate control, integrated pest management and artifact storage. • Development of better way to stay on top of the collections. They will be dependent on volunteers for the time being and need to have policies and procedures that include a use policy and a discussion of education vs. preservation. Audience The primary audience is the residents of the City of Dublin. Within this audience the subgroups of school students -mostly 3~d grade, families with young children, adults that like to play music, retired adults interested in history, adults that like to attend concerts and family members and descendants of founding families. The museums also targets tourists and resident of the tri-valley area which is compromised of the communities of Dublin, Pleasanton, Livermore, San Ramon and Danville. The Park and cemetery are open from sunrise to sunset and the Murray School House and Kolb House are open Tuesday 6-9pm and Wednesdays -Sundays 1-4pm. There is no charge for visiting the museums at the Murray School House or the Kolb House. On Tuesday nights and the second Saturday of the month they offer a regular music jam program. The museum operates with one full time and two part time staff members and many dedicated volunteers. The annual attendance is approximately 5,000 visitors to the Murray School House. The Kolb House opened in July 2011 so attendance data was not available at the time of the site visit. SCOPE OF COLLECTIONS AND INTERPRETATION The Dublin Heritage Park and Museums has approximately 1,000 three dimensional artifacts in several buildings that reflect primarily the history of the 19th century European immigrants. Photo and Archival Collections The Dublin Heritage Park & Museums holds a collection of 500-1,000 photographs and 500-1,000 archival documents. The items appear to be properly stored in a staff-only room inside the Kolb House. A volunteer is currently working on getting the information entered into PastPerfect for these items and significant progress has been made to date. The only major concern was the lack of a lock on the door and a history of visitors or donors gaining access to this room and going through boxes. I would suggest marking the room employees only. If the problem persists, then I would suggest a new lock on the door to reduce access. Publications The staff members have already utilized the photo collection to create two books about the history of Dublin. They frequently use photos for their regular newsletter. 4 The Dublin Heritage Park & Museums staff members have also used the collection to participate in, Calisphere, a pilot digitization project with the University of California. It's part of a free public gateway to primary sources from libraries and cultural heritage associations across the state. The total Calisphere project encompasses more than 200,000 digitized items including photographs, documents, newspaper pages, political cartoons, works of art, diaries, transcribed oral histories, advertising, and other unique cultural artifacts. Photographs from the Dublin Heritage Parks & Museums were included as resources in this project. http://www.aclibrary.or~/branches/dub/default.asp?topic=Dublin&cat=DUBLocalHistory Kolb House Collection In April 2011, the Kolb House, a 1910 Craftsman Bungalow House, was moved from its original location to the Heritage Park property. Along with this building came an extensive collection of furniture, decorative arts and personal items that belong to the Kolb family. The interpretation of the house is life in the 20th century city of Dublin and mimics how the last owner, Bill Kolb, lived in the residence. Volunteer docents give guided tours of the house and there are stanchions in the doorways to prevent entering the room. Some simple conservation measures are in place in the Kolb House to protect the collection. For example, in the picture below foam padding is use to protect the finish on the wooden chair from the metal object set on top of it. They also have some measures in place to protect the fragile collections pieces from earthquakes which is the largest natural threat to the collection. Hook attached to a decorative plate to prevent movement. These efforts are a good beginning but are inconsistent through the displays in the Kolb House. The staff members and volunteers should consider consistency in their conservation efforts as well as transparency in these efforts. Information on display techniques can be found in Exhibits for Small Museums which is already in the museum's staff library. I have included a list of articles specific to earthquake preparedness in the resource section of this report. Murray School House Collection The Murray School House has a delightful exhibit on early Native American and European settler life in Dublin. The exhibits, aimed primarily at the elementary school children and families, are well made and maintained. The majority of the items on display in this exhibit are not accessioned collections but rather consumable educational materials. Because several of the pieces are 19`h century period materials, the staff and volunteers should still consider marking these items in a special way to denote their status as consumable educational items. I would suggest a different inventory control system. For example, at the Minnesota Historical Society items are designated as Program Use Material or PUM. A separate inventory using the numbering system such as PUM1, etc. could be used to keep an inventory of these materials and visibly denote them as non-accessioned collections. This will prevent future staff members from thinking that these are "found in collection" artifacts instead of the consumable materials that they are meant to be. 6 For the items that are accessioned the staff has done a good job of displaying them out of reach or behind barriers. They should make sure that each collection item is marked so that it can be located and monitored for any wear or damage. n M~ ,~ , ~ ~' I ,._ ;,~s Artifacts on Exhibit Behind Barriers Collection Piece Out of reach of children Barrier for Accessioned Desks The exhibit in this building has a history of rat infiltration. Ms. Isles has made successful efforts to mitigate the problem including working with their exterminator to identify any points of infiltration and repair these areas and limiting eating and drinking by staff and volunteers to two specific areas and any food materials on exhibit that could be attractive to pests has been removed. I would also consider reading the NPS Conserv-o-gram about Identify Museum Insect Pest Damage and make sure there aren't any signs of other pests especially in the kitchen area of the exhibit. http~//www nps Gov/museum/publications/conserveo~ram/03-11.pdf The Murray School House is the only area where they ask for donations and it's located at the very end of the exhibit. I would suggest moving this donation box to the front counter/entry of the 7 exhibit. This may generate a little more visibility for donations and help raise additional money to fund their programs and collections care. Sunday School Barn and Kolb Hay Barn Both the Sunday School Barn and the Kolb Hay Barn have outdoor displays of farm equipment. The weather is generally very mild in Dublin year round, but these objects will experience wear and slow deterioration from exposure. There are not currently buildings large enough to house these objects. The staff should consider if this is acceptable and make sure that the condition of these objects is tracked over time. One object of particular interest was the Kolb Wagon. After the great 1906 earthquake, George Kolb loaded the wagon, now on display, with provisions and brought them to San Francisco. After delivering the goods, he took many Kolb family members living in San Francisco to safety in Dublin. This is an important artifact with ties to a local, regional and national story. This wagon is under a sheltered area to limit its exposure but it is still a wooden wagon exposed to the elements. The staff should consider either getting it inside a building, especially in the winter, or make sure they understand the agents of deterioration and monitor it closely. I would recommend reading the CCI Notes from the Canadian Conservation Center about outdoor storage http~//www.cci-icc.~c.ca/crc/notes/html/15-8-en~.aspx and remediation for outdoor storage http~//www.cci-icc.~c.ca/crc/notes/html/15-9-en~.aspx. Pioneer Cemetery The Pioneer Cemetery in the center of the park is an interesting component of the entire site. While all the plots are sold, active burials still take place here. The cemetery dates to 1859 when the St. Raymond Church was still under construction. The cemetery has some interpretive signage about early settlers that are buried there which adds to the beauty of the old grave stones and the connection with the history of the City. 'h ~~ ~ r R ~ T .~4 t ',~.~ !f .~',.~ Considering this is an active cemetery with burials still happening, I would not recommend accessioning grave stones. As markers, they are meant to be outside and will eventually deteriorate. However, I do suggest a complete inventory of the gravestones with photos attached. This will be helpful in the future with marking any deterioration and help with any programming that may include the cemetery. St. Raymond's Church St. Raymond's Church is the only building on the site that is in its original location. It was built in 1859 and it currently listed on National Register of Historical Places. It doesn't currently hold any accessioned collections or exhibits. It is not run as a museum and its primary function is for rental events and weddings. Collection Storage Building The three-dimensional artifact storage is located in a climate controlled storage building behind the Murray School House. I have a minor concern about the combination use of the building. One half of the building currently houses collections storage and the other half is used for general storage. Keeping the non-collection program items is not of great concern at this time because the materials are mostly costumes, dishware and tables with no period items that would be confused with the collection. However, I would recommend moving any chemical cleaning supplies to anon- collectionsstorage space. These chemical are possible hazards and cause damage to the artifacts in storage. Cleaning Supplies in Collection Storage Area Gift Shop t M~ -,y. ~ ~ f~jj,,,~ ~~k~i`~ t ~ ~ ~` ~ nI Entrance to Gift Shop in Kolb House As the visitors exit the Kolb House, they pass through a small gift shop. This shop is run by the Dublin Historical Preservation Association (DHPA), the group that unofficially started the museum in 1972. They currently operate as an independent non-profit that augments the Dublin Heritage Park & Museums with funding beyond the city funding provided for operations. The gift shop is considered a separate entity and is completely independent of the Dublin Heritage Park & Museums including the volunteers that run the cash register. On the surface, from a collections stewardship standpoint, this wasn't a problem until I learned that the gift shop stock is a combination of wholesale gift items and antique items that were donated for sale in the gift shop. The Dublin Heritage Park & Museums should be very careful of the image of impropriety in regards to collection. More information on this subject can be found starting on page 21 of Registration Methods for Small Museums that is already in the staff library. If the public thinks that a museum is selling collections items for revenue, it can be very detrimental to image of the museum. I would strongly urge the Dublin Heritage Park & Museums to either move the gift shop out of the Kolb House or make sure there is signage indicating the separate entity of DHPA and the nature of the gift shop. Miscellaneous Facilities Recommendations The Murray School House and Kolb House are structurally sound and contain well maintained HVAC systems. The staff engages in some environmental monitoring but more consistent record keeping is needed. I would recommend the use of HOBO data loggers to perform long range tracking of the temperature and humidity in all the buildings that contain collections. These relatively inexpensive data loggers come with software that generate charts and graphs that can be used to alert staff of any problems but also can be used when building a case for future grants or other funding for 10 building maintenance or collections care. Information about the data loggers can be found at http://www.onsetcomp.com/products/data-loggers/u10-003. ADMINISTRATION AND FINANCE Paid Staffing Elizabeth Isles is the only full-time staff member at the Dublin Heritage Park and Museums. She is in charge of all the operations, curatorial programming, educational programming and volunteers. She is assisted by a newly hired part-time Administrative Assistant to help oversee the Kolb House during open hours and a Senior Building Attendant to oversee the grounds keeping and with the ability to unlock and secure the buildings if needed. The additional two positions are immensely helpful to the Director in running the park. I strongly recommend that the city add acuratorial/collections manager position to the staff at the Dublin Heritage Park and Museums, ideally full-time. The volunteers have been doing a great job, but they need direction and decisive leadership by a staff member dedicated to the collection. This position could over see these volunteers, ensure that the city is living up to its collection stewardship responsibilities and assist the Director with initiatives to create earned income. The addition of this position could also help turn the collection into a revenue generator. Many of the photographs are already digitized. With the purchase of a high quality printer, these could easily be turned into copies that could be sold on request to members of the public. This includes for personal use and use in publications and media. By having a better handle on the collection, this position could pinpoint items that may be of interest and create changing exhibitions or outreach programs. They could also offer workshops for the community and assist with grant writing. Volunteers Collections Volunteer Corp Elizabeth Isles, Director, has a dedicated corps of three volunteers that are assisting her with processing the backlog of artifacts and archival materials and processing the new Kolb House collection that came with the property in spring 2011. They are inventorying all the currently accessioned material and entering all the information into PastPerfect Museum database and assigning temporary ID tags to all the items that came with the Kolb House for future processing. They have been doing a very good job. In the few hours per week that they volunteer, they have completed object worksheets on a large portion of the collection and data entry for over 1,000 items. These volunteers are largely self-educated with limited training from staff members and some workshops. They should all be commended for their professionalism and dedication to the collection and reminded that the lack of formal training not necessarily a detriment. The primary concern from all these volunteers was that they were "doing it wrong" and might cause damage to 11 a collections item. They might want to consider talking to local curators or collections managers. The close proximity to Oakland and San Francisco should give them access to other collections staff that might be willing to help with tips, information sharing or perhaps even some training. Ms. Isles has been successfully running this organization for several years and has a good handle on collections work, but, as the only full-time staff member her time is limited. The three volunteers I talked with each expressed that as volunteers, they don't necessarily want to be in charge of all aspects of the collections work. What they are craving is a set of clear policies and procedures for processing and documenting collections. Hiring a curator or collections manager as mentioned above could help give the volunteers the leadership they desire. In lieu of hiring additional staff immediately, I would recommend developing an in-house document or manual. The Dublin Heritage Park & Museums has a very good Collections Management Policy and Procedure Manual but it doesn't address what information to catalog or which numbering system to use. I would suggest creating a manual for cataloging collections items, numbering and entering the data. This manual could then be given to the current and future volunteers that work with the collection to standardize the work. To create this manual, please reference Registration Methods for5ma11 Museums which is already in the staff library. Another issue that came up is the one computer with PastPerfect and the lack of another computer or the scatter gather add-on for PastPerfect. I would recommend purchasing the scatter-gather function and setting up a remote computer or laptop in the object storage area. This could help the volunteers coordinate efforts and have more than one person doing data entry at a time. http://museumsoftware.com/scatter~ather.shtml Docent Tour Guide Volunteers All the docent tour guides are given a manual to train them to give guided tours of the Kolb House and tours of the exhibits in the Murray School House. The training manual is a very comprehensive guide to the park and the history of the different sites and programs. I would strongly recommend including information on the importance of collections care and safety in their role as tour guides. This will enable the tours guides to answer any questions from the public about touching, stations and why they have policies to protect collections items. It might also give a certain measure of validation and understanding for the work of the collections volunteers. I would also suggest allowing the collections volunteers to present their work at the large volunteer meetings that are held on a regular basis. This is another opportunity for the collections volunteers to share their work and for the tour guides to gain understanding about the importance and purpose of caring for the collection. 12 Finances The Dublin Heritage Park & Museums is run by the City of Dublin and the operating budget is included as a line item in the city's annual budget that is approved by the City Council. This provides certain stability in funding and allows staff funding to come from city funds rather than earned income. It does, however, prevent any earned income from directly benefitting the Heritage Museum. All earned income goes back to the general budget of the City of Dublin and any non-salary funding is a line item in the larger general budget. I strongly encourage the City Council to increase the allocation of collections care for the Heritage Park or allow them to keep a portion of the earned income to re-invest in programs, exhibits and collections care. The budget doesn't currently have a line item for funds that may result from the deaccessioning of collections items. While no deaccessioning is planned at this time, I would strongly recommend a restricted use line item in the budget for collections care and acquisition in case the need ever arises. The other glaring item for the volunteers was the lack of funding to purchase proper supplies for storage. The line item in the budget for any collections supplies is approximately $200. In the past few years they have done a good job of improving the three-dimensional storage area with a small budget. However, with greater funding, they could finish the process faster thus protecting the artifacts. -:-~ -6 Governance As mentioned before, the Dublin Heritage Park & Museums is part of the City of Dublin and, therefore, doesn't have a separate Board of Directors. They are part of the Parks Division for the City and Elizabeth is directly supervised by John Harnett, Heritage & Cultural Arts Manager. Mr. 13 Items to be removed from Acidic Boxes Properly Stored Artifacts in Storage Building Harnett oversees several community programs for the City of Dublin. He is very supportive of the programs and the staff at the Dublin Heritage Park & Museums. SUMMARY Ms. Isles and the volunteers at the Dublin Heritage Park and Museum are doing a solid job managing the collection despite the expanded operation and limited resources. They should have confidence in their work and keep developing their skills whether it's reading the resources already in hand or consulting with collections staff from other museums in the area. I have some recommended action steps listed below to help prioritize their work. Recommended Action Items Short Term (In the next 12-months) • Move cleaning supplies out of the collection storage building • Remove all artifacts from cardboard boxes in Collection Storage Building and repackage in acid free boxes • Allocate a larger budget for collections care supplies • Purchase data loggers and start monitoring the environments of the Murray School House, the Kolb House and the Collection Storage Building. • Purchase Scatter-gather Software for PastPerfect • Create a simple procedure for numbering artifacts • Develop a monitoring plan for the 1906 Earthquake Wagon Medium-Range (1-2 years) • Create a line item in the budget for collections care • Hire acurator/collections manager to be responsible for the collection • Finish the inventory and data entry of all collections items into PastPerfect • Create a partnership with a local university or graduate school to enlist interns to work with collections • Move the gift shop out of the Kolb House • Create a Collections Cataloging, numbering and data entry manual for volunteers Long-Term (3-5 years) • Complete aphoto-documentation project of the gravestones in the cemetery. RESOURCES The Dublin Heritage Park & Museums received an IMLS museum books grant as well as the MAP Bookshelf and, therefore, has a rich resource library at their disposal. Within the report, I referenced books and noted if they were already in the staff library. The resources below, broken into categories, are supplemental items that I thought would be helpful. 14 The American Association of Museums Accreditation Standards is an excellent source of guidelines. See the Accreditation Commissions List of Expectations at: http://www.aam- us.or~/aboutmuseums/standards/stbp.cfm Collections Stewardship Caring For Collections: Strategies for Conservation, Maintenance and Documentation. American Association of Museums, 1984. Buck, Rebecca A. and Jean Allman Gilmore, eds. The New Museum Registration Methods, 5`h Edition. American Association of Museums, 2010. Dorge, Valerie and Sharon L. Jones. Building an Emergency Plan: A Guide for Museums and Other Cultural Institutions. The Getty Conservation Institute, 1999. Gardner, James B. and Elizabeth E. Merritt, The AAM Guide to Collections Planning_ American Association of Museums, 2004. Lord, Gail Dexter and Kate Markert. The Manual of Strategic Planning for Museums. Altamira, 2007. Malero, Marie C. A Legal Primer on Managing Museum Collections, 2nd Edition. Smithsonian Institution Press, 1998. Ogden, Sherelyn. Preservation Planning: Guidelines for Writing a Long Range Plan._ American Association of Museums and Northeast Document Conservation Center, 1998. Perry, Kenneth. The Museum Forms Book. Texas Association of Museums, 1999. Simmons, John E. Things Great and Small: Collections Management Policies. American Association of Museums, 2005. Weil, Stephen. A Deaccession Reader. American Association of Museums, 1997. Northern States Conservation Website: www.collectioncare.or~ HOBO temperature and humidity data loggers: http://www.onsetcomp.com/data-lo~~er National Park Service Conserv 0 Grams: (Extremely helpful at no cost) http~//www nps Gov/history/museum/publications/conserveoeram/cons toc.html 15 Earthquake Preparedness Comu, Elisabeth and Lesley Bone. "Seismic Disaster Planning: Preventive Measures Make a Difference."WAAC Newsletter 13 (September 1991): 13-19. Crehan, Julie and Lori Van Handel. "Seismic Protection in Museum Storage: Affordable Solutions." WAAC Newsletter 12 (September 1990): 24. Ginell, William S. "Making It Quake Proof." Museum News 69 (May-June 1990): 60-63. Solley, Thomas T., Joan Williams, and Linda Baden, comps. Planning for Earthquakes: A Guide for Museums. Washington, DC: American Association of Museums, 1987. Interpretation and Exhibits Lord, Barry. Manual of Museum Learning. Altamira, 2007. Serrell, Beverly. Exhibit Labels: and Interpretive Approach. Altamira and American Association of State and Local History, 1996. Marketing and Public Relations American Association of Museums Resource Report, Taking Charge of Your Museum's Public Relations Destiny. 2004. Facility and Risk Management Emergency Response and Salvage Wheel. Heritage Preservation, 1997. Field Guide to Emergency Response: A Vital Tool for Cultural Institutions. Heritage Preservation, 2006. Liston, David, ed. Museum Security and Protection: A Handbook for Cultural Heritage. International Council of Museums, Routledge. 1993. 16 AMERICAN ASSUCIATI©N OF M USEUMS Characteristics of Excellence for U.S. Museums -. 1.1 The museum is a good steward of its resources held in the public 4.1 The museum owns, exhibits, or uses collections that are trust. appropriate to its mission. 1.2 The museum identifies the communities it serves, and makes appropriate decisions in how it serves them. 1.3 Regardless of its self-identified communities, the museum strives to be a good neighbor in its geographic area. 1.4 The museum strives to be inclusive and offers opportunities for diverse participation. 1.5 The museum asserts its public service role and places education at the center of that role. 4.2 The museum legally, ethically, and effectively manages, documents, cares for, and uses the collections. 4.3 The museum's collections-related research is conducted according to appropriate scholarly standards. 4.4 The museum strategically plans for the use and development of its collections. 4.5 Guided by its mission, the museum provides public access to its collections while ensuring their preservation. 1.6 The museum demonstrates a commitment to providing the public with physical and intellectual access to the museum and its resources. 1.7 The museum is committed to public accountability and is transparent in its mission and its operations. 1.8 The museum complies with local, state, and federal laws, codes, and regulations applicable to its facilities, operations, and administration. 2. ] The museum has a clear understanding of its mission and communicates why it exists and who benefits as a result of its efforts. 2.2 All aspects of the museum's operations are integrated and focused on meeting its mission. 2.3 The museum's governing authority and staff think and act strategically to acquire, develop, and allocate resources to advance the mission of the museum. 2.4 The museum engages in ongoing and reflective institutional planning that includes involvement of its audiences and community. 2.5 The museum establishes measures of success and uses them to evaluate and adjust its activities. ~~ •- • 3.1 The governance, staff, and volunteer structures and processes effectively advance the museum's mission. 3.2 The governing authority, staff, and volunteers have a clear and shared understanding of their roles and responsibilities. 3.3 The governing authority, staff; and volunteers legally, ethically, and effectively carry out their responsibilities. 3.4 The composition, qualifications, and diversity of the museum's leadership, staff, and volunteers enable it to carry out the museum's mission and goals. 3.5 There is a clear and formal division of responsibilities between the governing authority and any group that supports the museum, whether separately incorporated or operating within the museum or its parent organization. ~ • ~ 5.1 The museum clearly states its overall educational goals, philosophy, and messages, and demonstrates that its activities are in alignment with them. 5.2 The museum understands the characteristics and needs of its existing and potential audiences and uses this understanding to inform its interpretation. 5.3 The museum's interpretive content is based on appropriate research. 5.4 Museums conducting primary research do so according to scholarly standards. 5.5 The museum uses techniques, technologies, and methods appropriate to its educational goals, content, audiences, and resources. 5.6 The museum presents accurate and appropriate content f'or each of its audiences. 5.7 The museum demonstrates consistent high quality in its interpretive activities. 5.8 The museum assesses the effectiveness of its interpretive activities and uses those results to plan and improve its activities. 6.1 The museum legally, ethically, and responsibly acquires, manages, and allocates its financial resources in a way that advances its mission. 6.2 The museum operates in a fiscally responsible manner that promotes its long-term sustainability. 7.1 The museum allocates its space and uses its facilities to meet the needs of the collections, audience, and staff. 7.2 The museum has appropriate measures to ensure the safety and security of people, its collections and/or objects, and the facilities it owns or uses. 7.3 The museum has an effective program for the care and long-term maintenance of its facilities. 7.4 The museum is clean and well-maintained, and provides for the visitors' needs. 7.5 The museum takes appropriate measures to protect itself against potential risk and loss. American Association of Museums: Characteristics ofExcellence for U.S. Museums In Plain English Be good No really-not only be legal, but be ethical Show everyone how good and ethical you are (don't wait for them to ask) Do good for people Know which people And to be on the safe side Know what stuff you have Know what stuff you need Know where it is Take good care of it Make sure someone gets some good out of it Especially people you care about And your neighbors lie nice to everyone el se, too Especially if they live next door Avoid cloning Look something like the people you are doing good for And maybe a bit like your neighbors Let other people help decide what games to play And what the rules are Share your toys Know what you want to do And why it makes a difference to anyone Then put it in writing Stick to it Decide what you want to do next When you are deciding what to do, ask lots of people for their opinion Put it in writing Then do it If it didn't work, don't do it again If it did work, do Make sure everyone is clear about who is doing what the board knows it is governing The director knows she is directing (and the board knows it too) The staff know they are doing everything else And have it in writing • . • Know who you are talking to Ask them what they want to know Know what you want to say (and what you are talking about) Use appropriate language (or images, or music) Make sure people understood you And ask them if they liked it If not, change it Put your money where your mission is Is it enough money? Will it be there next year, too? Know when you will need more $ Know where you are going to get it from Don't diddle the books FQCII ITIFR QND RISK MANAGEMENT Don't crowd people Or things Make it safe to visityour museum Or work there Keep it clean Keep the toilet paper stocked And if all else fails, know where the exit is (and make sure it is clearly marked) For complete copies of AAM Standards and Best Practices for U. S. Museums visit www.aam-us.org ~*- ,Q <cr • 4 ~I ~ "~ ~ F <tr ter ~~ ~~ Ex~~ Museum Assessment Program Grant Writing Guide Using Your MAP Report to Leverage Funding The Museum Assessment Program is supported through a cooperative agreement between the American Association of Museums and the Institute of Museum and Library Services. 202-289-9118 • mapCaam-us.or~ • www.aam-us.org/map '~ Mus+eui i`,.,,~Librar AMERICAN~~ASSOC{ATIt~N OF MUSEUMS }:s sruvicEtiy This grant writing resource guide is designed to help your organization in preparing an effective proposal for aself-determined project in conjunction with your MAP self- study materials and assessment report. Attached to this grant-writing guide is a list of your state's government agencies and foundations, which you hope you will use in tandem with this guide. Please note that the following are general proposal recommendations and that you should always follow the specific guidelines a potential funder provides. The MAP staff wishes your institution success in any funding opportunity it pursues. Review the MAP Process Before you plan and set priorities for your proposal, sit down with the assessment team and review the entire MAP process including your institution's progress towards implementation. Review your application, self-study workbook and MAP report. Are there any patterns that emerge? What are your implementation plans? How has your institution improved operations? This is an important first step in determining which projects are priorities, what resources you have to commit to future projects, and which priorities/projects need outside funding. Plan and set priorities Determining which project is worth proposing can be achieved by looking over the MAP report and considering both the short and long term recommendations provided by the peer reviewer. In deciding which recommendation you will pursue for outside funding, ask yourself the following: • What do you need? • When do you need it? • Why do you need it? • Who do you need to do it? • How much do you need to do it? If you can answer those questions simply and succinctly, you should move forward and ask yourself the following questions that designed to dig a little deeper: • How does this project align with your mission? • Why is your organization the most qualified to develop and implement this project? • How will you execute the project? • What is the duration of the project? • What will be included in the scope of the project? • What staff will be needed to execute the project and their specific responsibilities? • What outcomes do you hope to achieve? (Alternatively: How will you define the success of the project?) • What resources do you already have available to use towards the project? 2 • Are there other individuals or organizations that you will need to partner with to complete the project? How will you identify these partners? All of these questions will shape and guide your proposal. If you cannot answer these questions or if your project doesn't align with your mission, re-evaluate the project. Using the MAP Report: • Review the Mission and Planning section of your peer reviewer's report and evaluate your institution's mission statement. Examining your mission statement will guide your activities and decision-making process as well as clarify how your institution can further strengthen its mission and planning. • Look over the recommendations, resources and appendices provided by your peer reviewer. Those supporting and sample documents will provide guidance on how to implement your projects. Compile a list of potential funding sources • If your state has museum association, we encourage you to contact them and consult about likely funding sources; • Seek advice from fellow museum professionals and your Board of Trustees to identify potential funding opportunities; • Look at organizations with mission and projects similar to yours-review their funder list; • Look for funding by foundations, state and federal agencies that aligns with your project by accessing their websites and exploring funding search databases; Prepare your proposal package Your package should be well-organized, clear and concise. Make sure it follows the funder's guidelines for format, page length, project descriptions, and incorporates the funder's review criteria. Most proposal packages will include the following components: 1. Cover letter (one pale): Make sure that before you submit the proposal, you are aware of the cover letter requirements and contact information for the funding organization. Include a thank you for the opportunity to submit the proposal. 2. Executive Summary (one paQe): This summary should include the following: • Project title and synopsis • Need • Expected outcomes • Timeline • Organization and its expertise • Funding requirements Using the MAP Report: Parts of your MAP report can help to shape your Executive Summary. The background information in the MAP report's summary will identify strengths and key recommendations. The brief institutional history with founding date, institutional mission, and overview of exhibitions/collections and program highlights, can be included in the proposal. The Executive Summary section of the report might highlight your institution's expertise and strengths. Review the following elements of your MAP report: • Executive Summary • Introduction • Brief Institutional History • Summary 3. Statement of Need/Supporting Data (two pales): When arguing for your specific financial and capacity needs, it is helpful to use data pulled from surveys or evaluations your institution has compiled. Furthermore, review your Self Study Workbook Activities and Workbook and supporting document from the Peer Reviewer in order to compile supporting data. This data can include the following: • Statistics culled by your staff, volunteers, governing authority, or internal data • Statistics gathered by external sources (e.g. city and state statistics, evaluations conducted by outside organizations, etc) • Examples, testimonials and anecdotes • Statements of Support from individuals and organizations (e.g. your peer reviewer, other cultural institutions, etc) Using the MAP Report: Draw specific content from the MAP report and the recommendations made by your peer reviewer. Remember that the peer reviewer is an expert professional and can be quoted in the proposal. You may want to include parts of the MAP report verbatim in your proposal. This section should support the case you are making. 4. Project Description (three pages): This section should give an overview of your goals and objectives for the project. When you select your project, consider and include in your proposal: • Project narrative • Planned or desired outcomes • Action steps for achieving outcomes • Metrics of success to measure program results • Project staff (e.g., staff, governing authority, volunteers, consultants, collaborators). Specify what project staff is already available and who you wilt need to hire. 4 • Project resources. Include any resources that your institution already has available as well materials and supplies that will need to be acquired. • Time line • Sustaining the project. Explain how the project will continue to be funded in the future to insure funder that it is a good investment. Using the MAP Report: The peer reviewer's report should serve as a professional opinion regarding recommendations for improvement for your institution and may include specific suggestions towards the scope of your project. Your project team will need to consider the logistics of executing the project and how these steps will ultimately impact your institution. You may find it helpful to work with the reviewer to theorize action steps to implement your project. 5. Budget (one pale): The budget should reflect and support the narrative and should be accurate and realistic. Make sure that someone familiar with your finances contributes to this section. In creating a budget, think about: • Expense information: personnel, non-personnel and overhead • Income information: grants, gifts, earned income, in-kind donations, etc. • Cost-share: Some grant and funding applications require acost-share. Cost-share can be made up of a variety of sources including paid and unpaid staff time, in-kind donations, funding from another source, etc. By providing some form of cost-share, you are demonstrating to the funder your dedication to the project. • Although not required by all funders, compiling a budget narrative assists in planning for full, true costs and serves to validate expenses. 6. Organizational information (one paQe): This should be information about what your organization is, who it serves and why it serves them. Include the following: • Your mission (and vision statement, if applicable) • Brief overview of organizational structure: staff, volunteers and governing authority • Your community engagement: your audience, your programs and your expertise • Community relationships: either with other organizations, partnerships or councils. Using the MAP Report: Your MAP report will have this organizational information, usually at the beginning, in its Executive Summary. Use that as a model for writing the proposal summary. Also use the information you gathered for your self-study and additional documentation to fill out your organizational information. This will serve as a template for future funding proposals 7. Conclusion (less than one pale): The conclusion should serve as your final appeal, which will restate the needs of your organization, why your organization is best suited to deliver the project, how this project will enhance the organization, and why this project will meet the criteria of the funding organization. Make a concise but meaningful final statement. Make sure that your organizational needs and the project's importance truly resonate. Appendix: The appendix should support and complement your proposal, so choose materials and documents that make a strong and pertinent case. This may include MAP reports, data, and letters of support referenced in the Statement of Need/Supporting Data section. Using the MAP Report: Some of these documents may be found in your own MAP report's appendix. Review the materials that your peer reviewer has attached to your MAP report and see if they align with the project and the proposal. Proposal submission and results: Before you send your proposal, double-check that you have the correct information regarding who and where to submit your proposal. Acceptance /Rejection If your proposal is accepted: • Send a thank you letter. • Establish a cordial relationship-be professional and responsive. The funder is helping your institution grow and improve, and with the right attitude and performance, they could become an ongoing or future financial resource. • Make sure to check grant agreements and grant report forms. • Meet all deadlines for reporting. • Communicate frequently/often-within reason. • Work to meet the outcomes established in the report. If you discover that these outcomes cannot be achieved, reevaluate the project and discuss alternatives with your funder. Do not be discouraged. If your proposal is rejected: • Don't take it personally. This may not be the right time for your project with this funder. It is possible that a future opportunity will arise. • If feedback on the strengths and weaknesses of the proposal is provided, review and use this information to strengthen and revise the proposal for future applications. 6 • If you have concerns about the rejection, it is appropriate to discuss the situation with the funder to see if they will explain the specific reasons you were not selected. • Research other grant opportunities and deadlines and requirements for those. Proposal tips: • Avoid jargon • Humanize the project • Keep it simple, concise-make sure to revise and edit! • Connect the project to your mission • Contact the funder discuss ideas and ask questions • Tell a story • Make it clear and honest • Submit ahead of deadline Using your Peer Reviewer: It may be helpful to ask your reviewer to review the proposal before you submit it. An external party that knows your operational capacity and your needs may give you further insight into your project's implementation and may give you resources to help support your case. 7 Q $M~ ,~ ~ ~ S ~ ~` ~ T A ~ ~~ '~ ,. ~' '~' ~ F w ~.~ ~-~. ~ ~~ Museum Assessment Program State Resource Guide CALIFORNIA The Museum Assessment Program is supported through a cooperative agreement between the American Association of Museums and the Institute of Museum and Library Services. 202-289-9118 • maRC~aam-us.or~ • www.aam-us.or /g map AMERICANr L' "`SSt3CIATILJN OF MU5EUM5 . Museum>r~«L'rbrary iG RYl4lt American Association of Museums 202.289.1818 www.aam-us.orQ California Arts Council 916.322.6555 webmasterC~cac.ca.~ov www.cac.ca.~ov California Association of Museums 831.471.9970 www.calmuseums.or~ California Association of Nonprofits 213.347.2070 www. canonprofits. orb California Community Foundation www.nonprofitexpert.com/cammunity% 20foundations/ca.htm California Council for the Humanities infoC~calhum.orQ www.calhum.orQ California Department of Education 916.319.0800 www.cde.ca.gov California Office of Historic Preservation 916.445.7000 calshpoC~parks.ca.~ov http•//ohp parks ca gov/default asp California Office of Tourism 916.444.4429 www.visitcalifornia.com California Preservation Foundation 415.495.0349 cpfCcaliforniapreservation.or~ www.californiapreservation.or~ California Teachers Association 650.697.1400 www.cta.or~ National Trust for Historic Preservation Western Office 415.947.0692 wroC~nthp.orQ www. preservationnation.or~/western Western Museums Association 307.578.4011 westernmuseumsassocC gmail. com http: / /westmuse.wordpress.com / Old Loans State Legislation/Abandoned Property Laws Below is the state-specific law regarding the process a museum must undertake before an old loan (e. g. expired loan or loan of unlimited duration where the material(s) has been left unclaimed) can become its property. Consult with the state attorney general's office before taking any legal action. Citation: 1899 to 1899.11 Found in Collection Provision: No. State Attorney General's Office 916.322.3360 http://a~.ca.gov v (n a 0 0 z 0 rr C/7 -p "6 '~ rt U -I n~ O ~ ~ O O ~ r~ ~' ~ 3' ~ Qq~ ~ -z O -6 (- fD fD n rt~ N O to O O ~ ,-r, ~- p- O ~^ -r, ~ - 'O flJ p O ~ --F, ~D O n Cp v O. T~ ~ O ~ Q O O ~ ~. ~ ~ ~ ~ ~ n N ~. CD O ro o -, r* v ~ ~ ~ -++ ~ ~ Q. O 'O O Q ~ r-r O O r~-r r-r ~ O v n~ ~ ~ rr ~ O ~ rt N cn ~ (D rt N °+ a ° ~, ~ ~ 0 ~' O -v n ~, O ~' O lD ~ v S m O n C CD O ~ ..O - v _O ~ ~' v ~ O ~ -. ~ 0 O ~ ~ Q - -, ~ p n~ ~ ~ v, ~. N O ~ ~ cn ~ O O ~ ~ ~ rt ~ N N cn ~ ~ Q fD O O C rt ~ ~ o ~ ~ ~ ro ~ °~~ S O- r+ ,G to ~ ~ ~ v, rt O ~ ~ O C v rr - + N rt rt O -h Q. 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