Catoctin Furnace Historical Society Internship #2

After the initial delays which beset my boss, I am now fully engaged with my internship and am learning a great deal. I have begun the creation of a formal tour for the Catoctin Furnace Historical Site. I initially researched how to construct a tour outline by contacting Christine Hawthorne, a park ranger and interpreter at the Hopewell Furnace Historical Site in Pennsylvania. She was incredibly helpful and sent a great deal of outlines of various tours which the Hopewell Site employs for public presentation. This not only provided me with solid examples but also allowed me to facilitate relations between the Hopewell and Catoctin historical sites. With this information I have created a rough outline of the information I wish to present to the public, the structure of how to present this information, and some concepts which I might employ in future. It is also important to note that I applied a great deal of knowledge that I have obtained via my study of public history. For example, I wish to present the daily lives of furnace workers in an interactive format in order to entice audiences with entertaining and educational information.

Of course I did not create an outline solely on information provided by Hopewell. I conducted research from various sources in order to construct a strong outline. I read the book provided by the Catoctin Furnace Historical Society titled Catoctin Furnace: Portrait of an Iron-Making Village and contacted the Catoctin Mountain Park in order to more information and facilitate ties with the national park as well. This research allowed me to form my initially outline and as I continue through this internship it will also aid me in forming a more comprehensive outline so that I may be better prepared for public presentation.

I was also lucky enough to attend a meeting of the society and see how a small historical society functions. We discussed a great deal of financial business including various grants, the indiegogo campaign, and restoration expenses towards the creation of the new museum. Upcoming events such as Spring in the Village (an event which celebrates the site with auctions, refreshments, and dressing in traditional outfits) and the upcoming Star-Spangled Tours. This allowed me the opportunity to discuss my tour and, when my work has concluded, an inaugural tour will be scheduled most likely following my graduation.  

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. 

Catoctin Furnace Historical Society Internship

This spring semester (2015) I have begun my internship at the Catoctin Furnace Historical Society located within the Catoctin Village north of Frederick and south of Thurmont MD. I regret that I have not posted more expediently, but my boss recently experienced a great deal of family hardships and I was not able to contact her for some time following our initial meeting. Though from what we have discussed concerning her expectations, I will have plenty of work to keep me busy throughout the semester.

The Catoctin Furnace was in blast from 1774 to 1903 and produced a great deal of iron household goods, cannon balls used at the battle of Yorktown, armaments used during the Civil War, and may have provided the raw iron used in the manufacturing of iron clads. I visited the site and garnered this information and Mrs. Comer (my boss) provided a small tour through the village. I was also present for a paint analysis at our newly acquired forge worker’s house which provided me with insight into the practice. I then had my full meeting with Mrs. Comer in which we discussed how my primary endeavor during my internship was to construct and provide a full tour of the village and furnace.

I was also asked to attend the Frederick Historic Sites Consortium:  Master Docent 2015 Workshops. I did so on February 28^th at Frederick Community College and was reimbursed by the furnace society for doing so. I attended several workshops such as: Sharing Your Passion via Museum Visitation, Primary Sources for Docents, Local Opportunities, “When the Populace Chooses War: Colonial Voice in the French and Indian War”, and “Repudiation: Frederick’s Unique Response to the British Stamp Act”. These lectures provided valuable information concerning how one can present to the public in a meaningful and fun manner, how to identify valuable primary sources, how to become a Certified Tourism Ambassador, and unique views of local history. I believe that these lectures presented a great deal of valuable information and skills which I intended to apply whilst I create a superb tour for the Catoctin Furnace. P.S. I also made connections with many local docents which should help me a great deal in the future.

Historical Society Site: http://catoctinfurnace.org/home/catoctinfurnacehistory.html

Internship with Jefferson Patterson Park and Museum

This semester (Spring 15) I have been interning at the Jefferson Patterson Park & Museum in St. Leonard, Maryland.  This facility located on the Patuxent River in St. Mary’s County is home to the Maryland Archaeology Conservation Lab (MAC Lab).  Archaeological collections recovered by State and Federal agencies within Maryland are housed here.  JPPM is also home for collections from private donations made to the Maryland Historic Trust.  All collections are preserved, curated and available for research.

My job is to research and update the Prehistoric Ceramic link of their online website “Diagnostic Artifacts in Maryland.”  This is a wonderful tool which catalogs and presents brief histories regarding the many collections and objects typically found in Maryland.  Prehistoric Ceramics encompass Native American wares dating back approximately 3000 years.  Highlighted on the website are the manufacturing, tempering agents, forms and common decorations distinct to each style of ceramic.  This period, prehistoric, is broken down into three main areas: Early Woodland (1250 B.C. – A.D. 50) a period of ceramic technology experimentation, Middle Woodland (A.D. 50 – AD. 950) a time of expansion, long-distance trade and communication, and Late Woodland (A.D. 950 – A.D. 1600) with its increase in subsistence and permanent settlements.

I work out of the JPPM Research Library which contains approximately 12,000 reference journals and books regarding current research in the field of Archaeology.  To this point I have read pertinent articles pertaining to the various wares, within this time period, published in journals from Maryland Archaeology, New Jersey, Delaware, Pennsylvania and Virginia looking for new or updated evidence and references to add on the website.  Probably the most important changes are to Mockley Ware, in that new research has produced evidence of fabric impressed markings or decorations at two sites on the Chesapeake Bay which changes the diagnostic description of this particular ceramic.

Once this part of the research is completed I hope to be able to pull materials from the collections and build a research display box that will allow students, researchers and the public to view and handle these artifact first hand.  Also if there is enough time I will be photographing various shards that demonstrate new technology and uploading them to the site.

Anyone wanting information regarding JPPM or this diagnostic website can check it out on this link.
http://www.jefpat.org or http://www.jefpat.org/diagnostic/index.htm 

Internship at Glenn L. Martin Aviation Museum

Beginning in December, I began volunteering at the Glenn L. Martin Aviation Museum. I do not actually work in the museum, but rather the archive. Both the archive and the museum are very small. My first project was with their magazine, The Martin Star. The Martin Star was the magazine put out between the years of February 1942 - July/August 1952. My job was to digitize every issue of this magazine. To do this, I first separated each issue and volume into piles. I found all the duplicates and tried to find the best issue, since many of them have been torn or faded. Once I had the best issue, I would put each issue in order by volume. Next, I organized all of the duplicates in a file cabinet located in the back of the archive. I then took all of the staples out so that I could cut each magazine down the middle. I only did this because it made the scanning process more efficient. Once all the staples were out and the issues were cut, I scanned each issue. I had to make sure that the pages scanned well enough for people to read. I also tried to get all the pages in the same direction after they were scanned, which was a conflict because even though they were put in the scanner the same way, they would come through in all different directions. I had to save each issue as a PDF file with the title, volume and issue number. After the scanning process was finished, I put each page into a plastic sleeve and put them into a binder. The head archivist, Stan, and I decided that we should only put one volume in each binder. I was able to finish this project around early February. More than anything, this project was time consuming. The most difficult aspect of this project was making sure none of the pages got ripped or torn in the scanning process. All of the issues were really fragile, and even the pages in good shape could be easily torn, so I had to be extremely cautious when handling them. I really enjoyed this project because I love magazines and old advertisements mainly. Some of the pictures were so interesting and I loved being able to see aspects of my own community from that time period.