Internship with Jefferson Patterson Park & Museum

Over the past month I have completed reading through the many journals housed in the Jefferson Patterson Park & Museum library, and have submitted my updates for the website “Diagnostic Artifacts in Maryland.”  The most interesting of these updates are the new findings regarding manufacturing techniques used on Mockley Ware, produced during the Middle Woodland period (A.D. 50 – AD. 950).  Traditionally manufacturing processes which created an outward appearance were believed to be the result of net-impressions or cord-markings produced when these materials were wrapped around a stick or paddle.  These sticks or paddles would then be slapped along the outer surfaces to help stabilize the clay and workout any bumps or imperfections in the vessel.  New evidence indicates a third method was utilized during the production process, one barely visible to the naked eye.

In 2006 Lynn Bullhack, an amateur archaeologist and her friend Johnna Robinson, published an article in the Journal of Maryland Archaeology that has changed the description and chronology for Mockley Ware in Maryland.  This past Friday (4/24/15) I attended a talk Lynn Bullhack gave for the Western Maryland Chapter of the (ASM) Archaeological Society of Maryland in LaVale.  I was interested to learning about their process and findings.  Providing a brief history of Point Lookout, a Peninsula in the Chesapeake Bay, Bullhack noted that this area of beach has suffered numerous reconfiguration due to past storm erosion and rising tides, submerging approximately one-quarter mile of land to a depth of 10 feet.  Bullhack discussed how as an avid beach walker; she noticed fragments of what appeared to be asphalt washing up.  Upon closer inspection she realized these were fragments of early Mockley ceramics and that some exhibited decorative details different from those traditionally assigned to this Ware.  Because of her connections with the Archaeological Society of Maryland and the Maryland Historic Trust, Bullhack was allowed to continue collecting surface finds for further analysis.   They collected 3,309 shell tempered sherds (Middle Woodland – Mockley ware) and 76 sand tempered (Early Woodland – Popes Creek ware).  To investigate what they saw as fabric impression on some sherds, Bullhack used sculpey clay to form a relief image of those sherds.  Photographs of the reliefs were then enlarged through digital imaging.  This process enabled her to detect three distinct fabric patterns: interlacing with unequal elements, a twined fabric, and one exhibiting accessory stitches within the fabric itself.  Lynn also utilized the technique of experimental archaeology creating her own pots, digging clay from veins in the same area of Point Lookout, weaving her own fabric, and firing the ware in a traditional out-door fire pit to test the outcome.  Several of the sherds they found also retained carbonized remains, which were sent to a lab (Beta-188328) for carbon dating.  Results came back placing these remains somewhere between 2030+- 40BP, with a calibrated result of 155BC – AD65 much earlier for Mockley ware than traditionally believed.  These findings suggest that one of the earliest Native American sites in Maryland is now eroding away off shore and producing these great finds.  The two main areas of beach where this material washes up have now become official archaeological sites (18ST728 & 18ST729) opening up new questions for archaeologists and redefining traditional thought regarding the manufacturing processes of early pottery makers.

This week I’m excited to begin pulling diagnostic samples from the various collections that will be made available in the MAC lab for researchers to study. 

Glossary
Accessory Stitches, or Supplemental Element(s): One or sets of elements added to a fabric as it is being constructed.  Embellishments such as embroidery can be added to repair, join, or as decoration.

Interlacing: A technique in fabric making where by one element passes over then under another perpendicular element.

Twining: One of the oldest fabric structures, it entails twisting to enclose one or more elements within the others. A wide variety of materials can be used and there are numerous variations on the process.

For the full article see:
Robinson, Johnna and Lynn Bulhack, An Analysis of Fabric Impressions on the Surfaces of Early Mockley Sherds from Point Lookout State Park, Maryland (18ST728 & 18ST729). Maryland Archaeology 42(1):1-8, 2006.

Small Museum Conference

In January, some of the other volunteers at the Glenn L. Martin museum talked to me about the Small Museum Conference that they attend every year. They asked me if I wanted to go, and if I did, they said the museum would pay for me. I decided that this opportunity was too good to pass up so I told them I would go. The conference was in Ocean City on February 15-17. Because of classes, I planned to only stay until Monday night instead of Tuesday, since many of the session were on Monday anyway. Because of the snow storm that Monday, many others left early as well, so I was not the only one. When I arrived that Sunday, there was a gathering for all of the attendees. I met a lot of people from companies who offer services to museums. One person I talked to was from a company that made lifelike figures to represent people for museum displays. Another company specialized in restoring and making copies of different types of documents. The woman representing that company explained the process of restoring some documents, which was very interesting and I was able to see before and after pictures of some restored documents. It is always fun to learn about behind-the-scenes work. People spend so much time and effort creating wonderful displays for museums and their work is often overlooked. Of course, these documents are not only restored for the public or museum displays, but to preserve them for future access, which is also important. One of the last groups I talked to were the graduate students from the University of Delaware. One of the students, Betsy, was very nice and gave me some good advice about being a graduate student. The next day, I had breakfast with my group while listening to a speaker discuss his experience visiting museums. He brought up some good points that made me think about what I love in museums and what I do not love. I have never really thought about how museums had affected me or other people and it was interesting to think about my experiences as an outsider. He emphasized that people respond really well to interactive displays and activities. The problem for small museums, however, is that they do not have a lot of funding and it is difficult to have more complex and interactive displays. One of the sessions I went to was about financing. Since many small museums lack funding, fundraising is very important. The presenters explained how even simple things like a donation box, memberships or an obvious donate link on the museum’s website can significantly impact funding. Overall, this conference was a great experience for me and I find myself thinking more about how museums affect people and the aspects that make them effective or ineffective in presenting ideas and sharing knowledge about specific topics.

American Visionary Art Museum Development Internship

At the beginning of the spring 2015 semester I began an internship at the American Visionary Art Museum located in Baltimore as the Development Intern. AVAM was founded by Rebecca Alban Hoffberger in 1984. Rebecca had an idea for a unique new museum that would emphasize intuitive creative invention and grassroots genius. There are now more than 40 museums and major visionary art environments open to the public around the world, but AVAM is still the largest. It continues to influence and inspire museum and city planner thinking all over the world.

But, what is “visionary art”? When I began my internship it was important that I understand how the museum defined this unique genre of art. The Mission Statement defines visionary art as such:

“Visionary art as defined for the purposes of the American Visionary Art Museum refers to art produced by self-taught individuals, usually without formal training, whose works arise from an innate personal vision that reveals foremost in the creative act itself.”

Those who work at AVAM consider visionary art to be something that begins by listening to the inner voices of the soul, and often may not even be thought of as ‘art’ by its creator.

As a non-profit organization, AVAM relies on donations and grants to operate. Acquiring funds is the duty of the Development Associate I work under. As the Development Intern I assist in fundraising projects by conducting research for potential donation sources. The museum recently organized a musical benefit night to raise money for the annual Kinetic Sculpture Race. I compiled a list of businesses to contact and prepared the appeal letters that will be sent. On another occasion I conducted research on fundraising galas hosted by similar organizations in Baltimore and Washington, D.C. My supervisor intends to use the information I compiled to plan the museum’s 25^th Anniversary Gala this fall/winter. I have also conducted research to find grants that will potentially fit the needs of the museum.

AVAM receives regular funds through donations and membership funds. The museum keeps extensive records of these donations. In the development department I track donations. Each donation also receives a personalized thank you letter signed by the museum director and founder that I put together and mail each week. This kind of work is essential for maintaining stable relations with crucial donors. I also track guests admitted to the museum for free and discounted rates, so the staff can keep track of money lost, and adjust.

In this position I have learned about daily museum administration. Even though I work in the Development Office, AVAM has a small staff. I eat lunch each day with the head of marketing, the head of event planning, the education directors, and the museum’s exhibit designer. As a result, I have gleaned information from the rest of the staff as well. Thus far, my experience at the American Visionary Art Museum has been meaningful and realistic.