Editor’s Note: In “What I’ve Learned Along the Way: A Public Historian’s Intellectual Odyssey,” outgoing NCPH President Bob Weyeneth issued a call to action to public historians to include the public more fully in our work by “pulling back the curtain” on our interpretive process—how we choose the stories we tell. In this series of posts, we’ve invited several public historians to reflect on projects that do exactly that, assessing their successes and examining the challenges we face when we let the public in through the door usually reserved for staff.
“Quakers and the Challenge of Freedom,” mixed media by Curtis Woody, 2014, was inspired by the collections at the Sandy Spring Museum, MD. Photo credit: Curtis Woody
If it’s true that museums only exhibit 2% of their collection, opening rarely or unused collections to people other than curators is one way for a museum to pull back the veil on the interpretive process to draw them “into an explanation of why some subjects are discussed at the site, but not others.” The Sandy Spring Museum, a community history museum in Sandy Spring, Maryland, has always had an extremely small staff and has never employed a curator, making much of our collection off-limits. We are experimenting with ways to make it more accessible by allowing people without museum training the opportunity to work with our collection. Two projects, an Extreme Exhibit Makeover and an invitation to local artists to make work inspired by our collections, are attempts to connect community members more meaningfully with the museum, give them hands-on experiences that show how curatorial choices shape the interpretation of history, and bring new perspectives to our collections. Hopefully, along the way, the participants, staff, and visitors had some fun, too.
Extreme Makeover-Exhibit Style
The Extreme Exhibit Makeover brought together a dozen individuals who had never worked together before and had no affiliation with the Sandy Spring Museum to improve our permanent exhibits. Participants were selected through an application process and put on one of two teams, depending upon their experience. In the end, each team had a designer, a researcher, an artist, an educator, and other assorted museum professionals. Continue reading