National Museum of Natural History Loans Skeleton of Racehorse Lexington

By Cara Seitchek

During the final weeks of August, the skeleton of the racehorse Lexington (1850 – 1875) arrived at the International Museum of the Horse (IMH) in Lexing-ton, Kentucky, returning him to his birthplace 160 years later. Known as one of the great racehorses, Lexington is the symbol of the city of Lexington’s latest marketing campaign, which named him the Official Horse of Bluegrass Country.

Bill Cooke, IMH director, said, “More than any human, Lexington established this

town as the site of thoroughbred breeding. With the 2010 World Equestrian Games being held here for the first time outside Europe, it gave us another reason to pursue this loan.”

When Cooke first contacted the Smithsonian requesting a loan of the skeleton, Lexington was featured in the National Museum of Natural History’s (NMNH) Osteology Hall as an example of Equus caballus. “We couldn’t remove

International Museum of the Horse

www.imh.org

Headley-Whitney Museum

www.headley-whitney.org

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Fall 2010

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News about Smithsonian Affiliates

continued page 7

1 National Museum of Natural History Loans Skeleton of Racehorse Lexington

3 Smithsonian Exhibition Travels to the Indian Country of Montana

4 Smithsonian Affiliations National Conference 2010

5 American History and Buffalo Bill Center Showcase Rare Photographs

6 All That Glitters Brings National Gems to San Diego

7 Summer 2010 Interns and Visiting Professionals

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94 Affiliates participated in Smithsonian Magazine’s Museum Day in September 2010.

Editor Christina Di Meglio Lopez

Assistant Editor Elizabeth Bugbee

Writer Cara Seitchek

Designer Brad Ireland

Printing Chroma Graphics, Inc.

Affiliations Staff Directory

Shuruner Bodin, Management Support Specialist

Jennifer Brundage, National Outreach Manager

Elizabeth Bugbee, External Affairs & Professional

Development Coordinator

Harold Closter, Director

Alma Douglas, National Outreach Manager

Aaron Glavas, National Outreach Manager

Laura Hansen, National Outreach Manager

Christina Di Meglio Lopez, Business & External

Affairs Manager

Caroline Mah, National Outreach Manager

Gertrude Ross, Financial Manager

© 2010 Smithsonian Institution

The Affiliate is published by

Smithsonian Affiliations. All rights reserved.

For information

Smithsonian Affiliations

Smithsonian Institution

P.O. Box 37012 MRC 942

Washington, DC 20013-7012

Telephone: 202.633.5300

Fax: 202.633.5313

http://affiliations.si.edu

contents

We extend a warm welcome to our newest Smithsonian Affiliate

St. Augustine Lighthouse Museum St. Augustine, FL

Colorado Historical Society Denver, CO

Ellen Noël Art Museum Odessa, TX

5

We delight in the many ways that Affili-ates connect with the Smithsonian and appreciate the work of every Affiliate in bringing the Smithsonian into your communities. Each week sees another speaker, exhibition, or set of artifacts heading off to appreciative audiences across the country.

In this issue of The Affiliate we bring you the most unusual story of Lexington, a legendary horse whose long journey from racetrack star to museum specimen recently culminated in his skeleton’s long-term loan to the International Museum of the Horse in Lexington, Kentucky. Lexington is just one example of Smithsonian staff working hand-in-hand with Affiliate colleagues to bring artifacts, artworks, and specimens back to their places of origin.

Other examples abound — the Peoria Falcon, a beautifully crafted Native American copper ornament from the Mississippian period is on loan from the National Museum of Natural History to the Lakeview Museum of Arts and Sciences in Peoria, Illinois where it has become a great source of city pride and a symbol of renewal. The National Museum of American

History’s Bantam Jeep prototype, on loan to the Senator John Heinz History Center in Pittsburgh, highlights the accomplishments of the Pennsylvania-based American Bantam Car Company and the Pittsburgh workers who built this iconic vehicle of World War II. Many original Wright Brothers artifacts, on loan from the National Air and Space Museum, can be seen at the College Park Aviation Museum in College Park, Maryland, the location of the world’s oldest continually operating airport, founded by Wilbur Wright in 1909. Collections from the National Museum of the American Indian create the foundation for the Historic Arkan-sas Museum’s tribute to the former tribes of the region, and the Smithso-nian American Art Museum recently honored the heritage of western art by loaning Thomas Moran’s monumental painting, The Grand Canyon of the Yellowstone, to the Buffalo Bill Historical Center in Cody, Wyoming.

The list continues. When an artifact returns home it stimulates local pride, creates unique learning opportunities, restores context, and amplifies the long tradition of Smithsonian scholarship

and stewardship. Of course, we don’t know how the artifact feels about all of this, but I’ve heard that Lexington had a small smile on his face when, after more than a century, he caught his first glimpse of the morning sun bouncing off the surrounding fields of bluegrass. Happy trails to all!

Harold A. Closterclosterh@si.edu

from the director

Bringing It All Back Home

61

Montana Historical Society

www,montanahistoricalsociety.org

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history/culture

Top to bottom

Exhibition opening

at Montana Historical

Society. (Photo

courtesy Montana

Office of Governor

Brian Schweitzer)

George Horse

Capture (A’aninin

[Gros Ventre]),

Montana Historical

Society Board of

Trustees member

and the curator for

the Smithsonian

Institution exhibition

Native Words, Native

Warriors, talks about

the importance of

Native American

service to the nation

and of saving native

languages at the

opening of the

exhibition last

summer at the

Crow Reservation

in Montana. (Photo

courtesy of Montana

Historical Society)

Smithsonian Exhibition Travels to the Indian Country of Montana

By Richard Sims

Guest author and former director of the Montana Historical Society describes the experience of seeing Native Words, Native Warriors travel through Montana’s Indian reservations.

Always are prayers spoken in the languages of the First Peoples. A prayer said under the massive uplift of the Mission Mountains to bless the Salish, the Kootenai, and the Pend d’Orielle; a prayer said in a cottonwood grove near the Little Bighorn River to bless the Crow Nation; a prayer spoken indoors at the Blackfeet Community College to bless all those who went before and those now beginning their journey.

This circle of prayer is exemplified in the exhibition Native Words, Native Warriors,

has spoken to the opening night crowds about intertribal conflicts of long ago and about the high level of military service among American Indian men and women today. When they return to the Reserva-tion, sometimes these veterans drift into memory. This exhibition has enabled tribal veterans throughout Montana to create more awareness of the sacrifices made by native warriors.

As the exhibition travels, it fits into the patterns of life of each tribe that hosts it. In the Flathead Lake country of northwestern Montana, the exhibition added focus to the work of the people, who premiered an outdoor sculpture honoring their veterans. With the Apsaalooke, or Crow people,

traditional dancer swirls with intent on the dance grounds. The gathering of individual American Indian veterans, of their stories, their families, and their spirit of endurance has made this Smithsonian exhibition something larger than mere panels with images and words.

To read more about Native Words, Native Warriors visit www.nmai.si.edu/education/codetalkers. A duplicate copy of the exhibition is traveling under the auspices of SITES. For more information, visit http://www.sites.si.edu/exhibitions/exhibits/codetalkers/main.htm

the affiliate

which began at the Montana Historical Society in April and reached the end of its journey in November 2010.

After the prayers is drumming, singing, and dancing. Drumming, because the drum is the heart and the heartbeat of the people; singing, because the high-volume voices alert us all to the unbroken span of time; and dancing because the feet must move on the ground as all creatures move — with grace, pattern, and intent. With grace, because this exhibition is designed to travel, is as easy to load, unload, and set-up as hitching a travois to a horse back in the buffalo days.

This exhibition, organized by the National Museum of the American Indian (NMAI) and the Smithsonian Institution Traveling Exhibition Services (SITES), traveled through Montana’s Indian country to the Northern Cheyenne people of Lame Deer, Montana. It honors the American Indian Code Talkers of World War II, telling the remarkable story of the American Indian soldiers from more than a dozen tribes who used their Native languages in the service of the U.S. military.

George Horse Capture (A’aninin [Gros Ventre]), the exhibition’s curator, is now retired and serves as a board member of the Montana Historical Society. Horse Capture

Native Words, Native Warriors was displayed in a large venue near the warriors’ park, where the Mystic Warrior is honored and where the oldest warrior today, 97-year-old Joseph Medicine Crow, danced a victory dance, leading Crow veterans of all modern wars. At the Fort Belknap Indian Reserva-tion, home to the Assiniboine and the White Clay (Gros Ventre) nations, the exhibition was installed in the lobby of tribal headquar-ters and was discussed over the loudspeaker at the powwow grounds, following the grand entry of colorful dancers and uni-formed flag-bearing veterans.

At Rocky Boy’s Reservation, home to the Chippewa-Cree, the exhibition was placed in the Senior Center where photo-graphs of warriors of other times are placed on the walls. In September, the exhibition was installed in the “Greet the Dawn” room at Fort Peck Community College, which serves the people of the Sioux and Assiniboine tribes. This exhibition has touched all of Indian country in all states, and will repose in the spacious tribal council chamber of the Northern Chey-enne, to honor a people who fought to come home, a people who leave home to fight in other lands.

This exhibition moves with meaningful intent around Big Sky country, just as a

Smithsonian Affiliations National Conference 2010

By Cara Seitchek

4

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Fall 2010

www.affiliations.si.edu

“Can Museums Save the World?” The keynote for the 2010 Smithsonian Affilia-tions National Conference offered Affiliate members a thought-provoking, insightful opportunity to explore the numerous contributions that museums make to their visitors, their regions, and greater global community. This theme permeated the conference, which was attended by Affiliate staff representing 70% of Affiliate locations.

National Museum of Natural History Director Cristián Samper and National Museum of African Art Director Johnnetta B. Cole brought per-spectives from the scientific, artistic, anthropological, and natural worlds to this question, both agreeing that museums can and do save the world in myriad ways.

Complementing the keynote, the Smithsonian’s new strategic plan was the focus of roundtable discussions through which Smithsonian experts suggested potential collaborations derived from the four grand challenges of the plan. These strategic goals will provide new opportuni-ties for Affiliates to become involved in Smithsonian research and outreach.

Kathleen McCormick, director of collections for the St. Augustine Light-house & Museum, said that the round-tables were valuable. “I talked to other Affiliates and Smithsonian personnel in depth, which gave me a good overview of what we can do with the Smithsonian and how to go about it.”

Seasoned Affiliate staff told stories of their successful partnerships in Partnering for Success: Getting the Most from Your Affiliation. Representatives from several long-term Affiliates enumerated the many ways their museums have benefited from an Affilia-tions membership — from loans to educa-tional programming and from networking opportunities to training.

Panelist Elise B. Misiorowski, guest curator for the San Diego Natural

History Museum, said, “To be invited to share my experiences at the Conference was a real delight. The Affiliations program is a wonderful example of how museums can work together.”

Angelica Docog, director of the Char-lotte Museum of History, also found this session helpful. “The Conference was my first exposure to the resources of the Affilia-tions program. The sessions were beneficial to me both professionally and personally.”

The behind-the-scenes tours also received great reviews. The tour of the Museum Conservation Institute was a particular favorite of Kathleen McCormick. “I have read and know the work of Smith-sonian conservators, so it was very exciting to meet them in person.”

Conference attendees also had many informal opportunities to network and exchange stories. The Congressional Reception enabled Affiliates to see the new Capitol Visitor Center and to mingle with members of Congress, including Smithso-nian Regent Representative Sam Johnson, (R-3rd / TX), and Representative Shelley Berkley, (D-1st / NV). Three interns received certificates of merit at the recep-tion for their participation in the Affilia-tions Internship Partnership Program. Plimoth Plantation intern Shawn Pirelli was accompanied by Richard Pickering, deputy executive director, a first-time attendee.

Pickering said it was moving to be at the conference; he could see that Shawn’s work on an exhibition about the history of Thanksgiving helped break down barriers between the institutions. He described the conference as having a “powerful collegial-ity. Everyone was great at sharing informa-tion. You could meet someone with the experience you need and then repay that information with your own experience.”

the affiliate

2010 conference Photography: Walter Larrimore, Smithsonian Institution

Buffalo Bill Historical Center

www.bbhc.org

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arts/history

American History and Buffalo Bill Center Showcase Rare Photographs

By Cara Seitchek

In 2007, Curator Michelle Anne Delaney saw her first book published — Buffalo Bill’s Wild West Warriors: A Photographic History by Gertrude Käsebier — but the temporary closure of the National Museum of American History (NMAH) halted any plans for an accompanying exhibition. A chance meeting at a Smithsonian Affilia-tions Conference not only led to the exhibition, but also to a long-term relation-ship with the Buffalo Bill Historical Center (BBHC).

“Affiliations promoted my book to the network of Affiliates and the BBHC invited me to apply for a Cody Fellowship. From there the relationship blossomed,” said Dela-ney, now the director for the Consortium for Understanding the American Experi-ence. “I became a Fellow and conducted more research, which led to co-sponsorship and production of the exhibition, which will become a traveling exhibition.”

The award of a Cody Institute for Western American Studies Fellowship enabled Delaney to spend a month in Cody, Wyoming at BBHC, delving even further into Käsebier, Buffalo Bill Cody’s Wild West Show, and the art and advertising surrounding the show. The resulting exhibition pairs Käsebier’s photographs with pictograph drawings and select artifacts from the Wild West Show.

“Michelle’s research fit so well into what we do,” said Bruce Eldredge, BBHC executive director. “The portraits of these warriors show the spirit of the American West and give a completely different insight into the lives of the Sioux performers.”

The book and exhibition showcase the portrait photography of Gertrude Käsebier, a prominent photographer of the 19th century. In 1898, Käsebier glanced out the window of her New York City studio, saw the Wild West Show performers parading by, and quickly wrote a note to Cody inviting the Lakota (Sioux) Indians to her studio. Several accepted her offer, sitting for the studio prints that are the core of the exhibition.

Donated to the Smithsonian Institution in 1969 by Käsebier’s granddaughter, the 112 original platinum prints were initially part of the National Museum of Natural History’s Anthropological Archives, but research revealed Käsebier’s stature as a photographer and the prints were transferred to NMAH.

“I became aware of the prints when so many people requested access to them,” said Delaney. “I realized I could bring an interdisciplinary approach to the study of the collection as they bring together the history of photography, biography, the beginning of art photography, American history, and well-known figures like Buffalo Bill.”

The idea for a co-sponsored exhibition developed quickly during Delaney’s Fellowship in summer 2009. BBHC offered its John Bunker Sands Photograph Gallery, an endowed gallery dedicated to photogra-phy, as the venue, and NMAH staff and conservators came together to create the exhibition, which opened April 8, 2010. Delaney and Eldredge are now working on a proposal to the National Endowment for the Arts, to develop a second book on the art of Buffalo Bill’s Wild West Warriors.

“The Affiliate connection usually starts small,” said Eldredge. “You make contacts at a conference and exchange ideas or information. Then you develop an exhibi-tion or borrow an object to bring some-thing of the Smithsonian to your museum, which then gives you the opportunity to show a different perspective through your own collections.”

BBHC is the third Affiliate for which Eldredge has worked. “Smithsonian Affilia-tions enables smaller and medium-sized museums to stand out from others in their region, and allows the Smithsonian to use its resources for the greater American public.”

the affiliate

Above

Detail from exhibition

panel depicting

William F. “Buffalo

Bill” Cody. (Photo

courtesy Michelle

Delaney, National

Museum of American

History)

Right

Detail of Mother

and Child, platinum

photograph by

Gertrude Käsebier.

(Photo courtesy

Michelle Delaney,

National Museum of

American History)

The exhibition

gallery at Buffalo Bill

Historical Center.

(Photo courtesy

Michelle Delaney,

National Museum of

American History)

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Six Affiliates collaborated to bring students to Washington, D.C. to participate in the Smithsonian Latino Center’s Young Ambassador’s Program in June 2010.

San Diego Natural History Museum

www.sdnhm.org

arts/scienceBelow

Natural mineral

crystals in the

exhibition All That

Glitters at the San

Diego Natural History

Museum. (Photo

courtesy Lollo Enstad)

The National Museum

of Natural History

loaned this carved

emerald pendant

suspended from a

platinum and diamond

“sautoir” necklace for

the All that Glitters

exhibition. (Photo

courtesy Lollo Enstad)

Right

Members’ Preview at

the San Diego Natural

History Museum.

(Photo courtesy

Lollo Enstad)

A platinum crystal, a blue sapphire ring, and an amethyst necklace are three of the nine National Museum of Natural History (NMNH) gems that are currently on loan to the San Diego Natural History Museum (SDNHM), now on display in All That Glitters: The Splendor & Science of Gems & Minerals. The exhibition combines natural mineral crystals with jewelry and other works of art to showcase both the science and the artistry of gems and minerals.

“Opportunities like this exhibition are wonderful venues to show off our pieces to the public,” said Jeffrey E. Post, NMNH curator and geologist. “When we loan a piece to another museum, it has a chance to star on its own, instead of competing with the Hope Diamond.”

The exhibition also enables SDNHM to display its own gem and mineral collec-tions, which had been in storage during building renovations and expansions.

“We brought in temporary exhibi-tions,” said Michael W. Hager, SDNHM president and CEO, “but we decided to devote that funding to an exhibition we created, and to not only look at specimens relevant to our region but also the larger world of gems and minerals.”

Guest Curator Elise B. Misiorowski brought her extensive background in jewelry history to the exhibition. Four galleries bring together objects as varied as meteorites from outer space, the California state gem benitoite, a carved Fabergé pig with diamond eyes, and a hand-carved zebra.

“I wanted to contrast natural splendor with man-made splendor, as well as look at the art that follows nature,” she said. “This information can be presented in so many ways, but by combining familiar items like jewelry with the science of crystal struc-tures, I tried to make the exhibition both accessible and fun.”

All That Glitters Brings National Gems to San Diego

By Cara Seitchek

This sense of fun permeates the exhibition, evidenced by a giant interactive periodic table illustrating all the elements comprising the gems. Animals are found throughout the exhibition in the guise of a jellyfish opal brooch, Cartier diamond panthers and tigers, and a set of 13 butterfly brooches set with alexandrite, rhodo-chrosite, and flame spinel. Another fun element is the word — “SAN DIEGO” spelled out in diamond-encrusted letters.

The letters, also on loan from NMNH, were packed personally by SDNHM staff member Chena Popper, who was assigned to the project as an Affiliations Visiting Professional during her residency in April 2010.

“We had to take each letter off a special mount and then pack them individually,” she said. “It was a great training opportu-nity and I saw first-hand as the objects went from the Smithsonian to San Diego.”

Post added, “The Visiting Professional project was very beneficial; knowing there was someone at the other end of the loan who knew how we packed our items and would unpack them just the way we like.”

In June, Misiorowski returned to the Smithsonian, this time to speak about her experience for the Smithsonian Affiliations National Conference. In the session, Partnering for Success: Getting the Most from Your Affiliation, she described the exhibition.

Post emphasizes that the Affiliate relationship is a collaboration and a partner-ship. “Showing our objects in different parts of the country allows other people to tell different stories than we would tell. And sometimes, we learn a few things about our pieces that we didn’t know before.”

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history

7

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Fall 2010

a specimen that occupied such a prominent place in the exhibition,” said NMNH’s Division of Mammals Collection Manager Linda Gordon.

In 1999, Lexington traveled across the street to the National Museum of Ameri-can History (NMAH), where he provided context to the story of the first mass-pro-duced stopwatch that split time into fractions of seconds. While curators could not make a direct connection between the stopwatch and Lexington’s feats on the racetrack, “we postulated that his racing successes were foremost in people’s minds and could have inspired a horse timing watch,” said Car-lene E. Stephens, the exhibition’s curator.

When NMAH closed for renovations in 2006, Lexington was finally available for loan.

“His place in the Osteology Hall had been filled with a zebra skeleton, so Lexington’s skeleton was cleared for loan requests,” said Gordon. “This was my first big loan to an Affiliate, so the Affiliations staff was very helpful in nudging me and keeping me on track.”

What appeared to be a simple loan became more challenging as Gordon lined up a conservator, a bracket making special-ist, and the packing and shipping company.

“At first, we thought the armature running through the spine was damaging the skull,” explained Gordon. “Our experts examined the bones closely and realized that the damage had occurred during the horse’s lifetime. He had had a massive facial infection that resulted in his going blind.”

Once they determined that the skeleton would not be damaged by further display, Gordon’s team cleaned the bones, made minor repairs, and prepared it for travel. “Although the skeleton was mounted a long time ago, they did a really good job. The skull is perfectly balanced on the best point for the armature. It’s a lost art — no one does this today,” she said.

Other Lexington museums are also participating in this celebration of the horse. The Headley-Whitney Museum, also an Affiliate, has borrowed a portrait of Lexington, painted by Pennsylvania artist Thomas J. Scott, from the Smithsonian American Art Museum.

“Lexington was painted from life from the Civil War period on,” said Chief Curator Eleanor Harvey. “Our painting is unusual in that it shows him in his prime, when he was the horse of the 19th century.” It’s a beautifully unified studio portrait.”

She said that while the loan process is the same for all museums, “we go the extra mile if we can do a loan to an Affiliate. We are happy to loan our gems if it helps people discover the jewels in their own backyards.”

the affiliate

V IS It INg ProfESSIoNAl

Eric Stanley AffIl IAtE

Sonoma County Museum (Santa Rosa, California)

SI uNIt

Two weeks with the National Museum of American History

ProjEC t

Exploring the philosophies, approaches, and standards to creating quality history exhibitions.

VIS It INg ProfESSIoNAl

Chena PopperAffIl IAtE

San Diego Natural History Museum (San Diego, California)

SI uNIt

Three weeks with the National Museum of Natural History

ProjEC t

An investigation into the care of mineralogy collections and the policies and procedures in preparing them for an exhibition loan.

VIS It INg ProfESSIoNAl

lisa falkAffIl IAtE

Arizona State Museum (Tucson, Arizona)

SI uNIt

Four-week rotational assignment across the Institution

ProjEC t

Researching how technologies are being used more effectively to engage diverse museum audiences.

INtErN PArtNEr

Annette ShumwayAffIl IAtE

The Patricia & Phillip Frost Art Museum at Florida International University (Miami, Florida)

SI uNIt

Ten weeks with the National Postal Museum

ProjEC t

Digitally archiving and cataloging the Postmaster General Collection.

INtErN PArtNEr

David KerrAffIl IAtE

Frazier International History Museum (Louisville, Kentucky)

SI uNIt

Ten weeks with the National Portrait Gallery

ProjEC t

Collection and exhibition development research relating to Kentucky and the Civil War.

INtErN PArtNEr

Shawn PirelliAffIl IAtE

Plimoth Plantation (Plymouth, Massachusetts)

SI uNIt

Ten weeks with a pan-Institutional Smithsonian program

ProjEC t

Refreshing the exhibition Thanksgiving: Myth, Memory, and Meaning through collections and public programming research.

Spring – Summer 2010 Intern Partners and Visiting Professionals

Congratulations to our spring – summer 2010 interns and visiting professionals!

Smithsonian Affiliations offers opportunities for Affiliates to support ongoing initiatives at

their organization through professional development programs across the Institution.

For information about these opportunities, please contact Elizabeth Bugbee,

BugbeeE@si.edu, 202.633.5304

Uncrating Lexington’s

skeleton at the

International Museum

of the Horse. (Photo

courtesy Bill Cooke)

“It is wonderful that the National Museum of Natural History loaned the skeleton of the racehorse, Lexington, to the International Museum of the Horse, the centerpiece of the Kentucky Horse Park. This exhibit was shared not only with Lexington’s hometown, but with the world, as the exhibit ran during the quadrennial Alltech FEI World Equestrian Games. Affiliations brings the Smith-sonian’s resources and expertise to communities like Lexington throughout our country, helping achieve the Institution’s mission.”

Representative Ben Chandler (D-6th/KY)

continued from page 1

National Museum of Natural History

Loans Skeleton of Race Horse Lexington

Smithsonian In Your Neighborhood

Alabama

The exhibition Let Your Motto Be Resistance, organized by the Smithsonian Institution Traveling Exhibition Service (SITES), travels to the Birmingham Civil Rights Institute (Birmingham) through November 2010.

Arizona

Curator of Ethnology Dr. Nancy Parezo, from Arizona State Museum (Tucson) participated

in the Smithsonian Institution Summer Institute in Museum Anthropology in Washington, D.C., in July 2010.

In September 2010, the National Air and Space Museum (NASM) loaned 19 artifacts to the Chal-lenger Space Center (Peoria) for the exhibi-tion, An Astronaut’s Life: Articles Flown in Space as part of their Museum Day activities.

National Museum of American History’s (NMAH) Curator Larry

Bird lectured at Bisbee Mining and Historical Museum (Bisbee), on Design for Victory: World War II Posters on the American Home Front, October 2010.

California

Riverside Arts and Cultural Affairs Division, Riverside Metropolitan Museum (Riverside) hosted Smithsonian Week in Riverside in May 2010.

NASM loaned the Aerobee 350 sound-

ing rocket to the Aerospace Museum of California (McClellan), in June 2010.

Connecticut

The Mashantucket Pequot Museum and Research Center (Mashantucket) will host the SITES exhibition Native Words, Native Warriors through January 2011.

In September 2010, NMAH Curator Rayna Green traveled to Hunt Hill Farm (New Milford) to lecture on collecting Julia Child’s kitchen.

Florida

Assistant Profes-sor in Biological Sciences Deron E. Burkepile, from Florida International University (Miami) presented Research and Discoveries: The Revolution of Science through Scuba during a two-day symposium on marine science at the National Museum of Natural History (NMNH) in May 2010.

Georgia

The SITES exhibition The Working White House: Two Centuries of Traditions and Memories was on view at The Southern Museum of Civil War and Locomotive History (Kennesaw) through August 2010. The museum also hosts a SITES exhibi-tion, The Way We Worked: Photographs from the National Archives, through November 2010.

Associate Curator of Photography at NMAH Shannon Perich, presented a session on Western imagery at the Booth Western Art Museum (Cartersville) annual art history symposium in October 2010.

Illinois

Dixon Historic Center (Dixon) will host the SITES traveling exhibi-tion Lasting Light: 125 Years of Grand Canyon Photography through January 2011.

Indiana

Smithsonian Jazz Mas-terworks Orchestra Conductor and Artistic Director David Baker gave a public lecture at Conner Prairie (Fishers) during the Indiana Festival in June 2010.

Iowa

NMNH loaned four specimens to The National Mississippi River Museum and Aquarium (Dubuque) for the opening of the new facility in June 2010.

Kentucky

Through December 2010, The Horse in Decorative Arts is on view at the Headley-Whitney Museum (Lexington) including loans from NMAH and the Smithsonian Amer-ican Art Museum.

Louisiana

The Cooper-Hewitt, National Design Museum hosted a Design Fair at the Ogden Museum of Southern Art (New Orleans) to introduce 4th to 12th-grade students to architecture and design in May 2010.

Maryland

College Park Aviation Museum (College Park) hosted NASM’s Earth from Space poster exhibition through September 2010. The museum will

host NASM’s Fly Now! exhibition through February 2011.

The SITES exhibi-tion Freedom’s Sisters travels to the Reginald F. Lewis Museum of Maryland African American History and Culture (Baltimore) through January 2011.

Staff from the Balti-more & Ohio Railroad Museum (Baltimore) participated in a half-day workshop that focused on energy and transport during the Smithsonian Science Education Academies for Teachers in July 2010.

Nebraska

The Durham Museum (Omaha) hosted the SITES exhibition Last-ing Light: 125 Years of Grand Canyon Photog-raphy in September 2010. The museum will also host Dig It! The Secrets of Soil, an NMNH exhibition, through December 2010.

New York

Rayna Green, NMAH curator, spoke about the Smithsonian’s Julia Child’s kitchen exhibi-tion to an audience at The Long Island Museum of American Art, History & Car-riages (Stony Brook) in September 2010.

Smithsonian Museum Conservation Institute’s (MCI) Within the Emperor’s Garden: The Ten Thousand Springs Pavilion exhibition opened at Flushing Town Hall (Flushing) in October 2010.

Ohio

The Center for the History of Psychology (Akron) opened its new archive and exhibition space in August 2010.

Pennsylvania

MCI Conservator Don Williams advised participants on how to care for family heir-looms during the third annual Pittsburgh’s Hidden Treasures, An Antiques Appraisal Show at the Senator John Heinz History Center (Pittsburgh) in August 2010.

Puerto Rico

In June 2010, SI’s annual Museum Workshop was held at the University of Turabo (Gurabo). Pre-senters included John Haworth, director of NMAI, George Gustav Heye Center.

South Carolina

Richard Efthim, Natu-ralist Center program director at NMNH, led the I Wonder profes-sional development workshop at York County Culture and Heritage Museums (Rock Hill) in August 2010.

Texas

In August 2010, The Alameda National Center for Latino Arts and Culture (San Anto-nio) hosted the SITES exhibition Bittersweet Harvest: The Bracero Program, 1942 – 1964.

Twenty photo-graphs from NASM depicting women in flight are included in the Dreams of Flight: A Journey through Air and Space exhibition at The Women’s Museum: An Institute for the Future (Dallas) through October 2010.

Washington

Whatcom Museum of History and Art (Bellingham) hosts the American Art Museum’s exhibition 1943: A New Deal for Artists through Janu-ary 2011.

Wyoming

NMAH’s Curator Michelle Delaney pre-sented Advance Work: Art and Advertising in Buffalo Bill’s Wild West during the Buffalo Bill and Europe: The First International Cody Studies Conference at the Buffalo Bill Histori-cal Center (Cody) in August 2010.

8

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Fall 2010

In October 2010, 25 Affiliates participated in the Universal Design: Beyond Americans with Disabilities Act webinar, featuring Beth Ziebarth from the Smithsonian Accessibility Program.

www.affiliations.si.edu

News about Smithsonian Affiliates

Left to right

Ross Dickinson’s

Valley Farms, 1934,

oil on canvas, now on

view at the Whatcom

Museum of History

and Art. (Photo

courtesy Smithsonian

American Art Museum.

Transfer from the U.S.

Department of Labor)

Included in the

exhibition Let Your

Motto Be Resistance

is Josef Breitenbach’s

1950 portrait of

Sarah Vaughan.

(Photo courtesy

National Portrait

Gallery, Smithsonian

Institution)