The Fund for Arts and Culture 2009 Annual Report


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The Fund for Arts and Culture 2009 Annual Report

  1. 1. annual report 2008
  2. 2. Message fr oM our Ceo2008 was a challenging year for The Fund. We provided a variety ofworkshops to Russia and Ukraine, held our Fourth Annual RegionalMuseum Directors Conference in Romania, and sent a consultant toAzerbaijan to explore possibilities for Fund activity.We made major efforts to find options for expanding The Fund’sactivities geographically. Our aim was, and still is, to find a way torestructure this organization to one with a paid chief executive anda new Board to broaden our mission. Our desire to widen our reachis predicated on the proposition that our operating model has beenthoroughly tested. Over 100 senior executives have served in 21countries where our services have been effective and welcomed; wewould like to offer these same services to countries in Latin America,the Middle East, and East Asia. Present Fund activities will be foldedinto this new larger international organization (The Culture Corps). Inthe meantime, we are shortening our name to The Fund for Arts andCulture to reflect wider interests.We investigated whether there may be a useful and appropriaterole for our work in India and Indonesia and explored the possibilityof a strategic partnership with the Salzburg Global Seminars. Wesolicited options for creating a business model for our proposed Ice fishing in Kozmodemyansk, RussiaCulture Corps with a business consulting firm, and then moreextensively with the Tuck School of Business at Dartmouth. Alas,the financial markets collapsed in the months our proposal was finalized.We also developed new programming options. One was a partnership proposed to us by the Museumof Political History in St. Petersburg, Russia. At their suggestion, we recruited twelve distinguished directors to meet with an equal number of Russian directors to explore the role of museums increating civic awareness. However, prior to our scheduled November meetings, the political climate inRussia changed, and our Russian colleagues indicated they did not think it timely to discuss the topicthey had proposed with Americans.Another new initiative involves a proposed partnership with one of the American Enterprise Funds toundertake an in-depth evaluation of the cultural capacities in their country of operation. This could developinto a three-year consulting program with some reimbursement for The Fund. I hope to be able to sharemore about this program if it develops in the coming months. China may also be on our horizon.My own brief October trip to Bucharest, Belgrade, Kiev, and St. Petersburg reconfirmed that requests forour consultants in the coming year and for 2010 remain strong. Whether we will be able to fulfill theserequests depends, of course, on our funders. Although our overhead is minimal (our only paid staff ispart-time administrative support), our costs have risen. Our support has not. I don’t know what The Fund’sfuture holds, but some of it can surely be determined by readers of this report who have generously madeour past work possible.Jillian PooleThe Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 1
  3. 3. aZerBaIJaN Baku, May 14-19Consultant: In 2008, Jahangir Selimkhanov, Director of the Arts & Culture Program of theWard Mintz Open Society Institute (OSI) Assistance Foundation in Baku, contacted The Fund about establishing “a partnership to transfer knowledge about best practices in cultural management to the state bodies and NGOs throughout Azerbaijan.” The Fund, in turn, asked Ward Mintz, Director of the Coby Foundation in New York, to visit Baku, tour museums, meet with their directors, and establish whether The Fund could be of assistance. Azerbaijan is located at the crossroads of Eastern Europe and Western Asia, and thus has a rich cultural heritage; some Azerbaijani monuments have been submitted for entry onto the UNESCO World Heritage Site. It is bounded by the Caspian Sea to the east, Russia to the north, Georgia to the west and northwest, Armenia to the southwest, and Iran to the south. It is an oil, natural gas, and mineral rich country, and its main ethnic group is composed of Azerbaijanis. Mr. Mintz coordinated his visit with the celebration of International Museum Day. He visited several museums during his trip, and had the opportunity to meet with many museum staff members to discuss their concerns. He was also able to view exhibitions, participate in International Museum Day programs, and take part in an international roundtable. While at the State Museum of Art, Mr. Mintz met with its director, Dr. Israfil Israfilov and deputy director, Ms. Gulyana Mammadova. They had a wide-ranging conversation concerning the challenges facing their museum and other museums, particularly those administered by the Ministry of Culture and Tourism. Dr. Israfilov explained that most museums in Azerbaijan are under jurisdiction of the Ministry, while a few are under the Academy of Sciences. There was a feeling that those administered by the Ministry were set up to serve tourists, while those under the Academy stressed “scientific investigation.” He explained that the Fine Arts Museum had no money to do exhibitions, to put collections online, or to do research, while experienced young scholars receive yearlong fellowships and complete major papers at museums within the purview of The Academy of Sciences. Dr. Israfilov also expressed concern with the state of museum studies in the country. He explained that none of the Art Academy’s museum studies teachers have museum experience, and students are not required to carry out internships in local museums as a prerequisite for getting a degree. Mr. Mintz also visited the offices of OSI with Mr. Selimkhanov and met with its Executive Director, Dr. Farda Asadov. They discussed the fact that although museums are experiencing diminished attendance, they are receiving more funds for new buildings and additions to, or renovations of, existing ones. While at the Carpet Museum, Mr. Mintz met Ms. Roya Taghiyeva, its director and President of the Azerbaijani ICOM National Committee, and Mr. Fikret Babayev, Head of Cultural Policy for the Ministry of Culture and Tourism. They discussed the need for management and marketing training. Ms. Taghiyeva echoed the feelings of Dr. Israfilov about the need for more professional staff. Among the programs she thought would be helpful were those on exhibition design and children’s programs, especially the need to learn how to connect programs to curriculum.2 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  4. 4. On May 18th, Mr. Mintz participated in the first ever International Roundtable, We all here highly appreciated theMuseums in the 21st Century: Tasks and Perspectives, co-sponsored by the precious recommendations and notes which Ward made during his visit to Baku,Ministry of Culture and Tourism and the ICOM National Committee. Mr. Mintz gave and especially those he expressed in hisa presentation entitled Museums and Visitors: Challenges for the 21st Century. His thoroughly written report. Each of his rec-talk focused on five issues: attracting audiences of different ages and backgrounds; ommended points deserves a profound andensuring that visitors enjoy coming to the museum and are learning; making steadily planned action.collections accessible through a variety of means; having an effective mission ~ Jahangir Selimkhanovstatement that explains the purpose of the museum and the audience it serves; andfinancial survival—developing strategies to find the money to operate effectively, paystaff well, and assure the museum’s future. Mr. Mintz also shared two American Association of Museum publications with theattendees: Hein and Alexander’s Museums: Places of Learning and Cunningham’sThe Interpreter’s Training Manual For Museums. They generated great interest,and Mr. Selimkhanov wondered whether it might be possible to translate thesepublications into Azerbaijani or Russian and distribute them to museums in thecountry. Mr. Mintz said he would explore doing so. Several other speakers made presentations at the roundtable. Their concernsincluded: the need to make museums more alive for visitors; the need for museumsto communicate national identity; the need for non-traditional solutions to the collectiveproblems of the museum community; the need for museum staff with different skills;the problem of low salaries of museum guides; and whether or not schoolchildren learnduring their visits. One speaker suggested that museums should have one free day amonth to combat flagging attendance. In late October, Ralph Appelbaum and his team traveled to Baku. They also metwith Roya Taghiyeva and discussed The Fund’s current programs and continuedinterest in working with her museum. Mr. Appelbaum confirmed that there is muchwork to be done with the Ministry, as museums in Azerbaijan rely on top-downpolicies for every aspect of their operations. The focus is currently on architectureand construction. Strategic institution building, interpretative planning, and thevisitor experience are an afterthought. He concluded that if the Ministry is tobecome an effective agent for tourism development, change is necessary. How TheFund responds to this reinvention of the government’s role in cultural developmentwill define our future in this region. Recommendations for future Fund activity in the area are currently under discussion.The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 3
  5. 5. r oM aNIa Bucharest, October 19-22Consultants: The Fourth Annual Regional Museum Conference was held in Bucharest in lateRalph Appelbaum October. This year’s topic, New Directions: Using Museum Assets in the 21st Century,Nicholas Appelbaum was designed to underscore that museums in the Balkan region have extraordinaryJemima FraserMelanie Yae Ide assets that they can use to build their communities and regions. The conferenceMark O’Neill explored ways to use these assets.Marc Pachter The Fund’s faculty included Ralph Appelbaum, Nicholas Appelbaum, and Melanie IdeJillian Poole of Ralph Appelbaum Associates, New York; Marc Pachter, former Director of the National Portrait Gallery, Washington, D.C.; Jemima Fraser, Director of the Royal Museum Project at the National Museum of Scotland in Edinburgh; and Mark O’Neill, Head of Arts and Museums, Cultural and Leisure Services for the Glasgow City Council, Scotland.I would like to thank you for making this In addition to Fund faculty, the Ministry invited guest speakers, including Dr. Ioan Opris from the National History Museum; Alexandru Iftimie and Razvan Lazar from theconference possible as it became one ofthe most fascinating experiences in my life Grigore Antipa Natural History Museum; Dr. Laura Manolache of the George Enescuso far. I do hope that we’ll cooperate in the National Museum; Viorel Rau, of the Vasile Grigore Painter and Collector Art Museum;near or further future as I strongly believe Wim G. van der Weiden, President of the European Museum of the Year Award; andthat thus I shall enrich both my profes- Boris Micka, a renowned museum designer in Europe.sional and personal lives. The Fund is grateful to the Ministry of Culture for providing financial and logistical~ Participant at the 4th Annual Regional support, and to Ralph Appelbaum, a long-time friend of The Fund, who contributed Museum Conference in Bucharest toward the cost of the seminar. Dr. Virgil S tefan Nitulescu, Secretary General of the Ministry of Culture and Religious , Affairs, began the conference with an overview of the issues facing the museums in Romania, particularly those relating to achieving professional standards in the care of collections, sustainable funding, and reaching new audiences. Wim van der Weiden touched on the subject of reaching new audiences. Because his job requires that he travel extensively to museums around Europe, he sees trends as they begin to emerge. He noted that the newest, most important trend museums are embracing is refocusing their collections to reflect the interests of the public rather than that of their staff. Ralph Appelbaum spoke eloquently about what he called the “Third Wave” of museum development. He explained that the first wave was the establishment of museums after the Victorian era, the second wave involved the modernization of museums using new communication psychology and techniques, and the third wave encompasses a more in-depth engagement with visitors and, above all, a commitment to storytelling. He noted that building support from everyone who might be interested in the project (visitors and non-visitors, politicians, the media, and local businesses) is important to promote the feeling of shared ownership. To further emphasize Mr. Appelbaum’s main talking points, Melanie Ide, a senior executive at Ralph Appelbaum Associates, gave a detailed presentation of a case study of a natural history museum in Texas. She described the detailed planning and project management processes required to create a new vision for a museum which has depth and resonance, and which can be sustained through the difficult process of raising funds, securing community and political support, and delivering the project. As Director of the Royal Museum Project in Edinburgh, Scotland, Dr. Jemima Fraser is overseeing a 15-year project to reinvent the 150-year-old historical museum in Edinburgh, link it with the New Museum of Glasgow, and present international collections in a Scottish context. When Scotland opened its new Parliament in 1998,4 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  6. 6. there was a serious re-examination of what it means to be Scottish, and how variousidentities can be reconciled. The master plan for the Royal Museum Project definesthe museums’ strategic objectives, and links them to wider societal policies, promotesthe use of resources for learning, and enhances the economic role of the museumthrough tourism. During her presentation, she used her work to illustrate the roleand use of cultural assets in helping to create an inclusive national identity in achanging political climate; the role of education and learning using cultural assets;the creation of an overall master plan for a cultural site; exploration of fundingsources and priorities; and business planning and audience development. Boris Micka, a leading museum designer in Europe, recounted his experienceof moving from Czechoslovakia and establishing the first modern museum designcompany in Spain, at a time when Spain was struggling to put the consequencesof a long dictatorship behind it and build a new and dynamic future. He offered thesuccess of the museum sector in Spain, which is now one of the most vibrant inEurope, as an inspiration to all. His presentation described a number of projectsand lessons he had learned as he explored the language of objects, architecture,and design in museum storytelling. Marc Pachter shared the lessons he learned as Director of the National PortraitGallery in Washington. He focused on the importance of creating spaces wherepeople feel welcome, where all the elements – the architecture, the colors of the Ralph Appelbaum in Bucharestwalls, the deployment of the objects – respond to people’s awareness of space andtheir enjoyment of being in safe public spaces among strangers. This approach alsoallows displays to direct attention to the objects and to raise questions about themin simple and unobtrusive ways. He also emphasized the important contribution theNational Portrait Gallery makes to the economy in Washington, especially because ithelped launch the regeneration of its city district. To illustrate how cultural institutions can reinvent and reinvigorate national identity,Mark O’Neill recounted the rebirth of civic museums in Glasgow, Scotland. When theeconomy collapsed in the 1960s, Glasgow became one of the poorest, most unhealthy,and derelict cities in Europe. In the early 1980s, the city decided to reinvent itself asa cultural tourist destination, and in 1983, the Burrell Collection, based on a collectiongifted to the city in 1944, opened. Glasgow was named European City of Culture shortlythereafter and was able to successfully rebrand itself globally. The city continued tobuild on its cultural assets, refurbishing old museums and creating new ones thatserved local residents but also attracted tourists. As a result, much of the city’sregeneration in the past twenty-five years has been driven by culture. On the last day of the seminar, Dr. Ioan Opris, a leading figure in the preservationof Romanian cultural heritage, discussed the preservation work that the NationalHistory Museum has done on the historical landscapes at Capidava. Messrs. Lazarand Iftimie gave an account of plans to modernize the Natural History Museum. A recurring theme at the conference was the role of museum educationand learning, and its importance in reaching a wide variety of audiences. NicholasAppelbaum presented various criteria established for excellence in learning activities,in which he demonstrated how the quality of the art gallery experience, especially foryounger people, depends not so much on money as on good pedagogy.The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 5
  7. 7. The relationship of cultural assets to the economy was also a recurring theme. There was some reluctance to accept that a change of attitude is required in the cultural sector to find shared objectives with agencies responsible for economic regeneration and tourism. All the presentations emphasized that it is important for museums and other cultural institutions to form partnerships with educational and economic regeneration agencies (especially tourism) and to work on developing shared agendas. It was continually emphasized that museums must work hard at ensuring that local and national government policies and strategies include museums as essential elements in a modern society. On the final morning of the conference, Ralph Appelbaum summarized the proceedings in some detail. He noted that the museum of the 21st century should Bucharest seminar participants be designed to engage the community. The visitor should be the object of attention, and the programs should be socially relevant. A museum’s main goal, therefore, should be to strengthen the community’s identity and to provide a tool to give formThe brainstorming and team work I to that identity. Because museums display objects in the context of a larger life story, participated in at the Third Annual they have become agents of national branding and identity. Museum Conference last year helped In summary, the faculty asked the participants to consider two questions me construct an exhibition entitled “The for their own activity: (1) What will you do? and (2) Whom do you need to involve to Woman in Society”, which is currently make changes? on display at my museum in Bulgaria. ~ Participant of the 4th Annual Museum Conference in Bucharest Future Plans After the conference, Virgil Nitulescu, Marc Pachter, and Jillian Poole discussed the future of these regional museum conferences. The Fund’s view is that the Fourth Annual Regional Museum Conference in Bucharest brought to a close this series of conferences in Romania. However, it was agreed these meetings provide valuable exchanges and should be continued in another venue. Dr. Nitulescu had suggestions on other locations and agreed to explore this matter with us. 6 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  8. 8. THe russIaN feDeraTIoNKozmodemyansk and Kazan, March 10-16Three-day museum management seminars were held in both Kozmodemyansk Consultants:and Kazan in mid-March. The seminar in Kozmodemyansk was rescheduled from Deborah Edward Jillian Poole2007, and at the suggestion of the Russian Museum, the rescheduled seminar was Sally Yerkovichcombined with a seminar requested by Kazan. Both seminars were led by JillianPoole, CEO of The Fund, and facilitated by Olga Reva, The Fund’s longtime translatorand colleague to whom we are deeply grateful. We were joined during our entire stayby Tamara Yakoleva and Olga Bondar from the Russian State Museum. Kozmodemyansk is a small, economically-depressed town on the Volga Riverin the Mari El Republic, population 22,000 and shrinking. It has four small museums:the art museum, an outdoor ethnographic museum, a 19th Century merchant’s house,and the Humor Museum. These museums are almost entirely dependent upon threemonths of tourist river traffic. During the seminar, Ms. Poole encouraged options forserving local residents during the off-season, and had the impression some of theseideas might be implemented. Participants at seminar in Kozmodemyansk The art museum gathered forty-five participants for the seminar representing tenvery different museums from the town and from communities in the Mari El Republic;they were joined by nine participants from the museums of Nizhny Novgorod in theneighboring Republic. The group was interested, involved, and completely engagedfor the three days. It was noteworthy that two of them had read The Fund publicationManaging for Money. The seminar began with a representative of each institution describing theirmuseum, its most important accomplishment in the past year, and its three greatestconcerns for the future. These included funding, staff, equipment and storageshortages, lack of audience, administrative challenges in dealing with “authorities,”and acquisitions. Ms. Poole succeeded in addressing all topics. The first topic focused on the importance of a mission statement. This led todiscussions of core competence and ways to attract people to their institutions. In thedays that followed, Ms. Poole distributed Fund consultant Barbara Charles’ checklistfor assessing exhibitions from the visitor perspective (which is on The Fund’swebsite). Participants visited the local museums to evaluate them against the list, andthen created programs while bearing in mind the list’s criteria. They discussed waysof promoting and marketing these projects. Merchandizing opportunities were alsodeveloped and fundraising options explored, including techniques for implementation. One lunch hour Jillian Poole and the Russian State Museum team visitors walkedout on the ice of the wide and gloriously glistening Volga River to explore ice fishingand talk with the fishermen. According to comments on the evaluation forms and those made to RussianMuseum colleagues, the participants were highly satisfied with the seminar results.The Nizhny Novgorod team asked for a Fund seminar next year, and they wereassured that their request will have high priority. Kazan is the capital of the Tartar Republic. Its language, Tartar, and customs aredeeply rooted in history. Its Kremlin is renowned. The city has some twenty museumsconsidered of importance as well as a number of smaller ones. The seminar group was comprised of thirty staff members representing thirteendifferent organizations—museums, art schools, music organizations, and a unionof schools—an unexpected selection since The Fund had been told it would be aThe Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 7
  9. 9. museum audience. It was clear almost from the outset that some held, and were prepared to defend, convictions and management practices rooted in the middle of the last century, while others were readily accepting of current best-practices. This dichotomy produced some tension, but their diversity made for interesting, if not always cohesive, discussions, particularly in the group-work sessions. As they introduced themselves, Ms. Poole noted and listed areas of greatest interest and concern. In many ways they shared concerns reflected in Kozmodemyansk. And, once again, their introductions clearly indicated little understanding of mission. Ms. Poole reviewed the concerns with the group, prioritized them, and agreed to address issues raised. This changed the original direction and schedule of the seminar program, which was designed for public relations and marketing, although elements of the original outline were incorporated. Under the rubric of Building a Constituency for Your Institution, participants were given group exercises on ways of enlisting volunteers for fundraising, publicParticipants at seminar in Kozmodemyansk relations, merchandising, and marketing. They talked in depth about press relations, merchandising, and marketing. The groups developed a variety of promotion ideas, and were particularly intrigued by the possibilities of “viral marketing.” Again Ms. Poole distributed Barbara Charles’ visitor assessment document, and they applied it to their visit to the art museum. This produced rich discussion and perceptive comments. Review of the evaluation forms gave the seminar high marks—a couple of participants were so candid they wanted assurance that their directors would not see their comments!8 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  10. 10. Kostroma, September 29-October 2 Sally Yerkovich created a very positive and constructive working environ-The Kostroma Art Museum invited The Fund to present a workshop on museum ment. The sessions were inspiring andmarketing and fundraising to museum professionals in the Kostroma Oblast. engaging, leaving the participants highlySally Yerkovich, President of The Fund, and Deborah Edward, co-founder and past satisfied. In their evaluation forms theExecutive Director of the Austin Children’s Museum, led the seminar. They were overwhelming majority said they will behosted by Natalia Victorovna Pavlichkova, Director of the Kostroma Art Museum. able to use the knowledge obtained at the seminar in their work. Thirty-one participants represented nature preserves, art museums, museumsof regionalism, municipal museums, a museum of literature, and departments and ~ Director of the Department for the Art Museums of Russia, Russia Statebranches of the Kostroma Museum. Many had already been involved in some Museummarketing and fundraising on behalf of their institutions, and were interested inlearning how to engage audiences and donors in museum activities. Ms. Yerkovich gave a presentation on The New Jersey Historical Society anddescribed how she ensured sustainability by attracting new audiences, diversifyingprograms, creating new visitor-focused programs and exhibitions, and attractingstronger funding support. Ms. Edward led a discussion about why people visitmuseums and introduced the concept of using cross-community themes to inspireprogramming and marketing. The participants divided into working groups to identifyprogrammatic themes that would inspire collaborative programs and joint marketingprojects. Their themes reflected the region, focusing upon the Oblast’s forests andrivers, its unique crafts, and traditional ways of making a living there. A slide show on the Austin Children’s Museum provoked discussion of visitor-centered and collections-centered interpretation. The groups used their themesto develop multi-faceted programs to attract specific audiences. They spent timepreparing presentations to the larger group by creating elaborate and lively graphicrepresentations of their programs and their marketing ideas. These activities provided a basis for discussion and presentation about sourcesof support. Ms. Yerkovich led a conversation about setting up development systemsby using examples of what to do and what not to do from her museum experiences,while Ms. Edward gave examples of how to conduct focus groups and presented atool for creating a marketing plan. Both Fund consultants described various modelsfor board and community leadership. The participants were particularly interestedin the logistics of setting up a development office and organizing a systematicdevelopment plan for their museums. The seminar ended with group presentations. Each group identified how theywould approach marketing and fundraising differently as a result of what they hadlearned. It became quickly evident that the participants had fully absorbed the centralthemes of the seminar. One group had initially stated that they were interested inattracting more people, more money, and more people with money to their museums.At the conclusion of the seminar, this group said that now understood how to begina dialogue with their potential sponsors as well as systematic ways to make thisdialogue effective. A second group had stated that they wanted to become equalpartners with their sponsors; however, they realized that they can not just ask formoney, but that they need to do research on their potential donors’ interests andpatterns of support. Final evaluations were unanimously positive. Individuals mentioned that theyespecially appreciated working in teams. They praised the seminar for its organizationThe Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 9
  11. 11. On July 8, Russia celebrated its brand and energy. When asked what other topics they might like to see addressed in futurenew holiday, the “Day of Family, Love and seminars, they mentioned educational programs for children, museum merchandising,Fidelity.” This day was chosen because interpretive design methods that go beyond guided tours, and how to build collectionsJuly 8 honors the memory of two Murom about contemporary history and art. Ms. Pavlichkova is eager to see participantssaints, Peter and Fevronia. Last year, begin to work more independently, especially in terms of fund raising, and it appearswhen we had the seminar in Murom with they will do just that.Honee Hess and Deborah Edward, wediscussed museum audience extension.One of the explored ideas was making Ulan-Ude, Russia, June 17-19a better use of the cultural assets of thecity, including the relics of ancient Murom One three-day seminar was held in Ulan-Ude, the capital city of the Buryat Republic,monasteries. So, it can be justly said that in mid-June. The seminar was led by Sally Yerkovich, President of The Fund, andThe Fund’s experts contributed to the ably facilitated by Olga Reva, The Fund’s longtime translator. The Art Museummaking of this new national tradition. It organized and hosted the seminar.has already attracted a lot of public atten- The Buryat Republic is located in Siberia east of Lake Baikal, the deepesttion to Murom and will continue to bring agreat number of tourists, as well as new freshwater lake in the world, and just north of Mongolia. Buryats, numbering someaudiences to museums, and this meets 350,000, are the largest indigenous group in Siberia and are of Mongolian descent.our goal for the seminar in Murom. Traditionally, the region was agricultural, and while it still produces agricultural and food products, it is also home to aircraft, machine-building, energy (coal and ore ~ Director of the Department for the mining), and timber processing industries. Tourism is a growing part of the economy, Art Museums of Russia, Russia State and the Republic maintains a tourism website: Museum Prior to the seminar, Ms. Yerkovich visited the Ethnographic Museum and Zoological Garden, a large open-air complex outside of Ulan-Ude, with serious development plans for increased tourism in the area; the Buryat Historical Museum; the Art Museum; the Ivolginsky Buddhist Monastery (Datsan) Center for Siberian Buddhism; and the Buryat Theater. As the thirty-one seminar participants introduced themselves, Ms. Yerkovich learned how diverse the group was; many were from outside of Ulan-Ude. They represented boards or departments of culture in small villages; literary, art, and regional museums; a theater; and a library for the blind. A number of representatives from Ulan-Ude museums also attended the seminar. Their concerns included the lack of cross- museum cooperation, developing new audiences (especially young people), lack of long-term planning, the stagnation of curators, the need to attract funding and media attention, and the desire to develop traveling exhibitions and exhibition exchanges. Ms. Yerkovich began the seminar by discussing the importance of effective mission statements as a means to attract sponsors and define an institution’s unique contribution to community life. Participants created mission statements for a museum of Old Believers, an art museum, a ministry of culture, and a library for the visually impaired. The first day of the seminar concluded with a dinner attended by the Minister and Deputy Minister of Culture. The Minister of Culture expressed concern for the well-being of the museums in Buryatia. She predicted that subsidies to cultural institutions will be reduced in the near future and that organizations will have to apply annually for support. She felt that this dramatic change will come about in spite of the push to develop cultural tourism in the region. To create a magnet for future tourists to the area, the Ministry is very interested in supporting efforts of the Ethnographic Museum to develop their zoo park. 10 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  12. 12. The focus of the seminar’s second day was upon audiences and visitors. Developingprograms targeted to new audiences produced lively discussion. The groups then visitedlocal institutions to assess their effectiveness for visitors. The day concluded with anunforgettable evening visit to Lake Baikal. After reports and discussions of the previous days’ museum visits, the final day ofthe seminar focused upon developing support for cultural institutions, with furtherdiscussions focused on various kinds of support—foundation, corporate/business(partnerships, sponsorships and in-kind donations), and government—and howto match an organization’s needs to its potential sources of support. The seminarconcluded with a presentation of letters the working groups wrote seeking flour for apancake festival from a pasta factory; support for a photo competition from a cameramanufacturer; help for the library for the visually impaired from an optics company; andsupport for an exhibition on workers’ dynasties from the Ministry of Railroads. Evaluations of the seminar were overwhelmingly positive and detailed. Somerequests were made to see more photos of other institutions and exhibitions, as wellas to have a variety of print materials available to consult. The Fund agreed to reviewmaterials from the Ethnographic Museum and advise them on possible next steps intheir quest for support for their expanded zoological park/garden.Sally Yerkovch at the Datsan in Ulan-UdeThe Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 11
  13. 13. St. Petersburg, October 30-November 1 Meetings were held in St. Petersburg to plan The Fund’s activities. Jillian Poole met with representatives from the Russian State Museum to discuss programs for 2009 and 2010. Two regional seminars will be held in Russia, one in Barnaul in June and one in Nizhny Novgorod in early Fall. The seminars will focus on marketing for art museums, including audience development and fundraising. Marketing-focused seminars for art museums will also be held in the towns of Yaroslavl and Kemerovo in 2010. A seminar for regional museum directors will be held in St. Petersburg in June and will include discussions and illustrations of ways art museums have adapted buildings (particularly those not originally designed as art museums) through renovation and reconstruction. The Fund was invited to send a speaker to cover this topic in a substantial way. At the State Historical Museum of Religion, Ms. Poole met with Boris Arakcheev. The museum has a distinguished collection but one that requires a guide for the entire experience. Among other things, the museum could use a major signage project. A Fund consultation in that area might be welcome, and Ms. Poole will explore the possibility. The final meeting of the trip was held with Evgeny Artemov, Director of the Political History Museum. He once again expressed gratitude for the work of The Fund’s consultant, Barbara Charles, principal of museum design firm Staples & Charles, to help them plan the renovation and expansion of the museum. Dr. Artemov and Ms. Poole also discussed the cancelled Civic Consciousness Forum, a conference that was to be held in November. It was to have been the first conference of its kind, and would have brought together twenty-four senior museum people from Russia and America, including representatives from the Hermitage, the State Historical Museum, and the Leo Tolstoy Museum-Estate in Russia, and the U.S. Holocaust Memorial Museum, National Constitution Center, and the Detroit Institute of Art in the United States. Ms. Poole reiterated The Fund’s commitment in helping the Political History Museum. Yekaterinburg Visitors to Washington, D.C. In late October, staff of the Yekaterinburg Philharmony/Ural Philharmonic Orchestra, including Alla Petrova, Rustem Hasanov, Yaroslav Sartakov, and Elena Vadovskaya came to the Kennedy Center in Washington, D.C. for a seminar on board management and marketing headed by the Center’s Chairman, Michael Kaiser. This trip came about as a result of The Fund seminar held in Yekaterinburg in 2007 conducted by Carole Wysocki, Chairman of the Education Programs of the National Symphony Orchestra, and Michael Brewer, former Chairman of the Board of the National Symphony. Ms. Wysocki hosted the group during their visit, and The Fund introduced them to Erica Bondarev of the Baltimore Symphony Orchestra. The group expressed pleasure and gratitude for their American visit and the opportunity they gained as a result of their contacts with The Fund.12 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  14. 14. serBIaBelgrade, October 25-27Three representatives from the Ministry of Culture in Serbia met with Jillian Poole Consultant:to discuss the possibility of Fund activities. The Ministry expressed interest in a Jillian Poolenumber of projects, including developing distinctive, regional festivals for towns andcommunities, and developing a cultural route to encourage cooperation among smalltowns. The Ministry is clearly enthusiastic about a Fund seminar, and Ms. Poole isfollowing up with them to plan one for March 2009. She also met with the CulturalAttaché Susan Delja and Cultural Assistant Marija Bjelopetrovic at the U.S. Embassy,both of whom expressed interest in supporting Serbian cultural activities of The Fund.Typical building in KozmodemyanskThe Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 13
  15. 15. uKraINe Kiev, August 31-September 6 Consultants: Last year, The Fund received a request to assist museums in Ukraine with their Ihor Poshyvailo communications, marketing, and fundraising efforts. To this end, The Fund organized Catherine Schwoeffermann a four-day seminar, Museum Exhibitions, Communications, and Public Outreach, which Deborah Ziska was led by Fund consultants Deborah Ziska, Chief of Press and Public Information at the National Gallery of Art in Washington, D.C., and Catherine Schwoeffermann, Executive Director of The Stewart W. and Willma C. Hoyt Foundation in Binghamton, New York. The seminar was hosted by Ihor Poshyvailo, Deputy Director of the Ivan Honchar Museum, and Olha Krekoten, Cultural Affairs Assistant at the U.S. Embassy in Kiev. Our thanks go to the Ivan Honchar Museum for hosting the seminar and the U.S. Embassy for their support in making the seminar possible. Forty participants attended the seminar, including 38 Ukrainian directors and senior staff primarily from art, ethnographic, and history museums in Kiev and the surrounding suburbs. Two women, one from Ukraine and one from The Netherlands, represented the Delegation of the European Commission to Ukraine. After welcoming remarks from museum director Petro Honchar, Ms. Krekoten gave a brief history of Fund seminars in Ukraine and explained the mission of The Fund and the goals of the seminar. Seminar organizers had requested a short presentation on Traditional Ukrainian celebration in Kiev trends in U.S. museums in the 21st century, which Ms. Ziska gave. Her presentation emphasized rising attendance, community outreach, interactivity, family programs, the use of communications technology, and branding. Ms. Schwoeffermann’s presentation focused on exhibition planning, development, and interpretation, especially how to integrate issues of cultural equity, respect, and acceptance. She explained how she creates exhibitions that are interdisciplinary and experiential while emphasizing the power of story.The seminar was a great success. We By highlighting four major exhibitions and related education and public programs, Ms. Schwoeffermann illustrated how exhibitions could be effective without being had over 40 participants who enjoyed four days of intellectual communication. Deborah expensive, as well as many other considerations, such as positioning of objects to Ziska and Catherine Schwoeffermann were show similarities, creating vistas to draw people forward, and various ways to tell the fabulous. We consider it to be the best of all objects’ stories. the Fund seminars we’ve held in Kiev. We The primary topics of Ms. Ziska’s presentation were the elements of a promotional are all very grateful to you for your endless campaign for an exhibition. She also showed the participants how they could utilize energy, activity and wisdom. social media for promotion. Actual examples of branding that targeted young adults ~ Deputy Director of the Ivan Honchar were presented from the Los Angeles County Museum of Art and the Hirshhorn Museum, Kiev, Ukraine Museum of Modern Art in Washington, D.C. Flyers, bookmarks, and postcards and their avenues of distribution to target audiences were presented as effective, low- budget ways to promote exhibitions. During the seminar, the participants were divided into four working groups, an idea that was initially met with some skepticism. At Ms. Schwoeffermann’s suggestion, each group was assigned to one of four exhibits, and they were asked to spend one hour visiting or touring them accompanied by presenters and consultants. They were encouraged to assign people in their group to lead, record, and produce the presentation, as well as to consider multimedia, such as Web sites and white board illustrations, or actual examples of objects. It was apparent that they continued to do research and communicate overnight; all four groups made creative use of multimedia. In addition to resourcefulness, creative problem-solving, and respect for each member’s contribution, each group demonstrated that they thoroughly understood 14 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  16. 16. the presentations and assignments. Overall the presentations were enthusiastic,thought-provoking, and professional. Ms. Honchar was so impressed with one group’sreconceptualization of an exhibit that she asked the group to advise the museum onan upcoming exhibition. At the request of the participants, the end of each day was devoted to an open-question forum with Ms. Ziska. Subjects ranged from how exhibitions are developedand their timelines to standards of security.Future ActivitiesTo plan for The Fund’s 2009 activities, Jillian Poole spent two days in Kiev at theend of October. She met with Courtney Austrian, Cultural Attaché at the U.S.Embassy, and Ihor Poshyvailo, Director of the Ivan Honchar Museum. It was decidedthat another seminar will be planned for Kiev in Fall 2009. The topic will be AudienceDevelopment and Support (Fundraising). Jillian Poole chatting with hosts at reception in Kiev Ms. Poole visited the Museum of Book and Book Printing of Ukraine. Their director,Valentina Bochkovska, is passionately interested in the restoration of books andis eager to attract funding to reproduce them for distribution to libraries. Instead,Ms. Poole suggested that Ms. Bochkovska develop the museum’s excellent story,currently on their website, into a DVD format for distribution to schools, libraries,and other museums. She noted that their story explains the history of the books andillustrations in ways far beyond the original small black and white manuscripts shewas eager to reproduce. Ms. Poole also suggested she explore the possibility ofentering the project into The U.S. Ambassadors Fund for Cultural Preservation. Ms. Poole’s final meeting was with Halyna Soroka, Director of the National Museumof Ukraine Literature. The museum covers the history of Ukrainian literature fromits origins to the present. Though there are many challenges facing the museum/historical society, the museum offers a plethora of well-attended activities, and theirexhibits are well done and interesting. Ms. Poole is pursuing the idea of holding aseminar at the museum, which would give the director and her institution some of therecognition they both deserve.The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 15
  17. 17. 2009/10 sCHeDuleD fuND aCTIvITIes (as of 1/26/09) Museum Audience Development; March 24-27 Belgrade, Serbia programming and advocacy June 24-26 Barnaul, Russia Meeting the Challenges in Art Museums June or later St. Petersburg, Russia Annual Regional Directors Conference September/October Nizhny Novgorod, Russia Museum Education Opportunities September Kiev, Ukraine Audience Development/Fundraising 2010 Yaroslavl, Russia TBD 2010 Kemerovo, Russia TBD The Fund is also exploring the potential of additional seminars in Albania, Armenia, Azerbaijan, Bosnia-Herzegovina, Bulgaria, Macedonia, and possibly China within the next two years. Working group presentation in Kostroma16 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  18. 18. our CoMMuNICaTIoNsIn 2008, The Fund introduced a quarterly e-newsletter, FundLink, to keep friends, Your presentations were excellent andconsultants, past seminar and conference participants, and donors updated on Fund informative and the first informal response from the Ministry was one of satisfactionactivities. Monika Jansen, FundLink’s editor, includes brief overviews of seminars and as expressed by many attendees throughconferences, a list of upcoming events, and other editorials that may be of interest an informal poll taken during our last lunchto our readers. FundLink is published in February, May, August, and November. To together.subscribe to FundLink, please email Ms. Jansen at In our busy lives it’s easy to forget the plea-Our website,, is kept updated by Monika Jansen sures of sharing ideas and time with ourand Charles Turner, who regularly post photos, reports, and announcements from The international counterparts. The communityFund. Visitors can review trip reports and pictures from consultation assignments as of museum professionals shares a specialwell as outlines from related presentations. It is also possible to download the complete bond and duty and it is encouraging to seetexts of two of The Fund’s publications: Managing for Money, available in English, it flourish with such passion to do good andRussian, Ukrainian, Bulgarian, Georgian, Romanian, Serbian, and Albanian; and get things right in far away places.Writing Effective Grant Proposals, which is posted in English, Russian and Serbian. Thanks again for your hard word, brilliant thoughts and friendly spirits. ~ Ralph Appelbaum addressing the faculty following the 4th Annual Museum Conference in BucharestKozmodemyansk on the Volga RiverThe Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 17
  19. 19. THe fuND’s PeoPle Officers, members of the Board of Advisors, and Consultants for The Fund contribute their services without compensation. Officers Paul H. Elicker has been Chairman of The Fund since 1997. His background is in private industry and more recently in government-oriented service. He was Chairman and Chief Executive Officer of SCM Corporation, a $3.4 billion Fortune 500 conglomerate company. He was Executive Director of The Center for Privatization, the first and largest consulting firm devoted exclusively to privatization work in about eighty countries, and has personally participated in assignments in about thirty countries. By Presidential appointment, he is a member of the Board of Directors of the Baltic American Enterprise Fund, which is responsible for U.S. foreign aid to small and medium-sized private enterprises in the Baltic countries. Jillian H. Poole is CEO of The Fund, which she founded. She has a wide background in institutional development for museum and performing arts organizations, government liaison, and nonprofit management, including public relations and fundraising. For nineteen years she was responsible for planning and executing the development programs of the John F. Kennedy Center for the Performing Arts, America’s National Cultural Center, a responsibility that ultimately included its partner The National Symphony Orchestra. Prior to that, she held a similar position at the Corcoran Gallery of Art in Washington, D.C. She was also Adjunct Professor of Arts Management in the graduate school of the American University for sixteen years. She has been retained as consultant to a variety of cultural organizations. Trusteeships included The North Carolina School for the Arts, The National Building Museum, the Acting Company and the Erick Hawkins Dance Company. She currently serves on the Board of the Amadeus Concerts. Sally Yerkovich is President of The Fund. She has over twenty-five years of leadership experience in high profile American institutions including the National Endowment for the Arts, National Endowment for the Humanities, New Jersey Historical Society, South Street Seaport Museum, and Museum for African Art. She has been a volunteer with The Fund for over twelve years. Frank S. Johnson, Jr. is Corporate Secretary of The Fund. He has served as top public relations executive to some of the nation’s best-known corporate, government, and not-for-profit organizations, including NASA, the U.S. Postal Service, USIA, the Chicago Board of Trade, General Dynamics, Revlon and others. He is also a former President of the Revlon Foundation, and served as assistant to the President of the Solomon R. and the Daniel and Florence Guggenheim Foundations. He was also a member of the Board of Directors of the Acting Company and The Virginia Opera. David F. Graling, CPA, has been Treasurer of The Fund since its inception. He is a Managing Partner of Gelman, Rosenberg & Freedman.18 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  20. 20. Governing Board It’s clear after every conference thatMarc Breslaw is Executive Director of the U.S. Association for the United Nations High the ongoing success of The Fund’s workCommissioner for Refugees. Prior to this, he was Chief Operating Officer of the New is a blend of interpersonal, internationalIsrael Fund, and Associate Museum Director at the United States Holocaust Memorial dialogue coupled with high level profes-Museum. sional informational exchange.Stephen A. Brown has an extensive 34-year career in international theatre, opera, ~ Ralph Appelbaum following the 4th Annualand ballet management, which has included the Opera Company of Boston, the Royal Museum Conference in BucharestNational Theatre of Great Britain, and the Royal Opera House, Covent Garden. After18 years as Stage Manager for the Metropolitan Opera, he was appointed CompanyManager in 1997.Karen Franklin is a guest curator at the Museum of Jewish Heritage — A LivingMemorial to the Holocaust in New York, serves on the AAM/ICOM board, and is Co-Chairof the Board of Governors of Jewishgen. She is a past Chair of the Council of AmericanJewish Museums.Lyndel King has been Director and Chief Curator at the Frederick R.Weisman ArtMuseum at the University of Minnesota since 1981.Patrick Sears has been in the museum profession since 1973. He is currently ChiefOperating Officer of the Rubin Art Museum in New York City. Previously he was on thestaff of the Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution,ending his 20-year career there as Associate Director.Robert Workman is Executive Director of Crystal Bridges Museum of American Art inBentonville, Arkansas. Prior to this, he was Deputy Director at the Amon Carter Museumin Ft. Worth, Texas.Rena Zurofsky is a consultant specializing in museum management and planning,as well as non-profit business development. Her clients have included art, history, andnatural history museums, and historical sites throughout the eastern seaboard.Senior AdvisorsRobin Berrington, former Deputy Director of President Bill Clinton’s Committeeon the Arts and Humanities and Cultural Attaché to the Court of St. James in London,retired from the U.S. Foreign Service in 1999. During his 32-year career, much of itspent in Japan, he was awarded the U.S. government’s Meritorious Honor award andthe Superior Honor.Harold Burson is Founding Chairman of Burson-Marsteller. Burson-Marsteller is theworld’s largest communications counseling firm.Martis Davis, a past Fund consultant, has an extensive background in publicaffairs, public policy, marketing communications, crisis management, branding,and advertising. His experience includes senior positions in public relations at theWashington Post, AT&T, Burson-Marsteller, New York City’s Health and HospitalsCorporation, the AARP, and as Deputy Assistant Secretary for Public Affairs at HHSduring the Clinton administration.The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 19
  21. 21. Ralph Appelbaum’s team was Robert W. Duemling served as President and Director of the National Building Museum excellent and their presentations were in Washington, D.C. He currently serves on the Board of the Society of Architectural memorable. They shared knowledge in Historians, and is a lecturer in architectural history at Washington College in Chestertown, their particular fields, which was beneficial. Maryland. He is a former member of The Trustee’s Council of the National Gallery of Art. Not less significant was learning about Jay A. Levenson has been the Director of the International Program at The Museum of the cultural revival in Scotland. The local Modern Art in New York since 1996. Prior to that, he was Deputy Director for Program Administration at the Solomon R. Guggenheim Museum, also in New York. communities’ support of the museums was essential for their economic recovery, and Senator Richard G. Lugar is Ranking Republican on the Senate Foreign Relations Committee. I argue that this is equally important for the transition of our countries. Virgil Nitulescu is the Secretary General of the Ministry of Culture and Religious Affairs in Bucharest. He also served as Secretary of State at the Ministry, and as a senior counselor ~ Participant of the 4th Annual Museum Conference in Bucharest with the Committee on Culture, Arts, and Mass Media of the House of Deputies, where he drafted or amended legislation related to the audiovisual and cultural sectors. Marc Pachter is former Director of the National Portrait Gallery. From 1985 to 1990, he was Senior Cultural Advisor to the United States Information Agency. Dr. Pachter is an historian author and editor. Blair A. Ruble is Director of the Kennan Institute for Advanced Russian Studies of the Woodrow Wilson Center in Washington, D.C. He also serves as Program Director for Comparative Urban Studies at the Woodrow Wilson Center. Jane Safer has held senior positions at the New York City Department of Cultural Affairs and the New York Hall of Science. As a consultant, she has worked with the Andrei Sakharov Museum in Moscow, the Kunstkammer in St. Petersburg, the National Museum of the American Indian in Washington, D.C., and the Arts and Business Council, New York City. John C. Whitehead is past Chairman of AEA Investors Inc. and a former Deputy Secretary of State. He currently serves on the following boards: Chairman of the Goldman Sachs Foundation, Co-Chairman of the Greater New York Councils of the Boy Scouts, the Nature Conservancy, the East-West Institute, and the Eisenhower Exchange Fellowships. In late 2001, he was appointed Chairman of the Board of the Lower Manhattan Development Corporation, the organization responsible for the rebuilding and revitalization of Lower Manhattan. He is also former Chairman of the World Trade Center Memorial Foundation. Consultants Who Served in 2008 Nick Appelbaum is an education specialist and historian at Ralph Appelbaum Associates in New York. He is currently involved in planning Africa’s first Presidential Library in Nigeria, and he supports other RAA projects in content development, writing, and strategic positioning. Ralph Appelbaum is President of Ralph Appelbaum Associates, a New York City- based firm that plans, designs and produces museum exhibitions, visitor centers, and educational environments, including the U.S. Holocaust Memorial Museum, the Corning Museum of Glass, and the Rose Center for Earth and Space of the American Museum of Natural History. Deborah Edward was Founder of the Austin Children’s Museum, which she led for sixteen years. She was Executive Director of Greenlights for NonProfit Success, providing 20 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  22. 22. consulting, education and resources for nonprofits of all kinds. In 2006 she took a leadrole in launching Psychology Without Borders, an international nonprofit alleviatingsuffering caused by disasters.Jemima Fraser is Project Director of the Royal Museum Project at the National Museumof Scotland in Edinburgh. The project, of which she was a key developer, will incorporatethe Royal Museum and Museum of Scotland into one site and oversee the completerenovation of the 150-year-old Royal Museum. Previously, Ms. Fraser was Head ofEducation at both the National Museums of Scotland and Glasgow Museums.Melanie Yae Ide has been a planner, designer and project director for over 18 yearsat Ralph Appelbaum Associates in New York.Ward Mintz is Executive Director of The Coby Foundation in New York City. He wasDeputy Director for Programs and Collections at The Newark Museum, responsiblefor curatorial, education and collections-related activities, including the exhibitionprogram. Prior to that he was Assistant Director of Programs of The Jewish Museumin New York City.Mark O’Neill is Head of Arts and Museums, Cultural and Leisure Services for theGlasgow City Council in Scotland. He was previously Head of Glasgow Museums. Heoriginated the concept for and established the St. Mungo Museum of Religious Lifeand Art, one of only four museums of religion in the world. For the past twelve years,he worked on the Heritage Lottery-funded redisplay of the collection of Kelvingrove ArtGallery and Museum, which is the most visited museum in Britain outside of London. Annunciation Cathedral in KazanMarc Pachter. See biography in “Senior Advisors” section.Jillian Poole. See biography in “Officers” section.Ihor Poshyvailo, Deputy Director of the Ivan Honchar Museum in Kiev, is a scholar andresearcher in arts and crafts and has published numerous articles and several books.Catherine Schwoeffermann is Executive Director of the Stewart W. and Willma C.Hoyt Foundation in Binghamton, New York. She was previously Curator and ProgramDirector at the Roberson Museum, also in Binghamton. Ms. Schwoeffermann hasserved on panels for the National Endowment for the Arts, the American Associationof Museums, the Institute for Museum and Library Services, and the New York StateCouncil on the Arts.Sally Yerkovich. See biography in “Officers” section.Deborah Ziska is Chief of Press and Public Information at the National Gallery of Art inWashington, D.C. She has thirty-seven years experience in communications, marketing,public affairs and management.The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 21
  23. 23. Consultants Who Have Served in Prior Years James C. Armstrong was a Principal in the management-consulting firm Armstrong/ Stelzer in New York City. Hubert Bari, an independent museum consultant. Works include the Neanderthal Museum and the Charles Rennie Mackintosh Exhibit in Glasgow. Paxton Barnes, an exhibit designer with recent projects at the Tyler Arboretum, Bronx Zoo and New York Botanical Garden. Guillermo Barrios, former National Director of Museums, National Council of Culture in Venezuela. Graham Beal, Director of the Detroit Institute of Arts. He has held directorships at the Los Angeles County Museum of Art and Joslyn Art Museum in Omaha, Nebraska. James M. Bradburne, a British-Canadian architect and designer and museum specialist, has designed World Fair pavilions, science centers and international art exhibitions. He is Director General of the Palazzo Strozzi in Florence. Michael Brewer was Chairman of the Board of Directors of the National Symphony Orchestra for five years and has been a member of the board since 1994. He also sits onWorking group putting together their project the boards of the Youth Orchestra of the Americas in Arlington, VA, the Joyce Foundationin Kostroma in Chicago, and the Duke Ellington School of the Arts in Washington, D.C. Teresia Bush was Senior Educator, Department of Public Programs at the Smithsonian’s Hirshhorn Museum and Sculpture Garden. Stefano Carboni is Curator and Administrator of the Department of Islamic Art at The Metropolitan Museum of Art in New York. Kathleen Charla, a Russian language scholar and a communications expert, has consulted for various Russian cultural institutions. She ran her own advertising/marketing firm and was named Detroit Adwoman of the Year in 1991. Barbara Fahs Charles is Managing Partner of Staples & Charles, Ltd., a museum interpretative planning and design firm in Alexandria, Virginia. Recent projects include the reinstallation of the permanent galleries of the Detroit Institute of Arts. Patricia Ciraulo was Deputy Director for External Relations, Russian National Orchestra, Moscow. Andrzej Choldzunski, an award-winning Polish architect and teacher of architecture currently residing in France. Ruth Ann Coggeshall was Chief Development Officer of the National Gallery of Art in Washington D.C. She is now an independent consultant. Martis Davis. See biography in “Senior Advisors” section. Louise Douglas is the General Manager of the Audience and Program Division at the National Museum of Australia, Canberra, the major institution charged with researching, collecting, preserving and exhibiting historical material of the Australian nation. Jacqueline Duke has been Deputy Director at the Museum of International Folk Art in New Mexico since 2000. Paul Elicker. See biography in “Officers” section.22 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  24. 24. Stephen Feber has twenty-seven years of experience in the leisure and tourism Conferences of this size and scopesectors with a particular focus on visitor attractions, urban regeneration, heritage are crucial as they stimulate our creativityand project inception, development, and operations. He has worked as consultant, and, most importantly, remind us why we have chosen this path, a path in a formerdevelopment director, and chief executive for museums, National Trust properties, communist country where mentalities (notand interactive centers. society) change at an amazingly slow pace.Miguel Fernández Félix, Director of the National Museum of Viceroyalty in Mexico City. ~ Participant of the 4th Annual MuseumHe was Mexico’s cultural attaché to UNESCO and followed this assignment with the Conference in Bucharestdirectorship of the Dolores Olmedo Patiño Museum.Barbara Franco is Executive Director of the Pennsylvania Historical and MuseumCommission. Prior to this she was President and CEO of The Historical Society and theCity Museum of Washington, D.C. She has wide experience in promoting communityhistory and heritage tourism.Karen Franklin. See biography in “Governing Board” section.James H. E. Finke was President and Chief Operating Officer of CommodoreInternational, Ltd., and Vice President of European Operations for Data General.Patrick Gallagher, President and Founder of Gallagher & Associates, a leadingprofessional design firm that creates exhibits for public and private sector museums,visitor centers, and natural science centers. Clients include the Gettysburg NationalMilitary Park, Oceans Hall at the Smithsonian Institution, and the International SpyMuseum in Washington, D.C.Anton Ginzburg, Partner in the design firm Studio RADIA. In 2004, he created acollection of products for Cooper-Hewitt and the National Design Museum.Jessica Glass, a video producer, editor, technical director, audio-visual installationconsultant and technician, and film/video projectionist with the Metropolitan Museumof Art in New York.Elaine Heumann Gurian is a consultant/advisor to a number of museums and visitorcenters that are beginning, building or reinventing themselves. Clients include theNassau County, New York Parks and Recreation Service, the Museum of the City ofLondon, the National Children’s Museum, Washington D.C., and The National Museumof the American Indian, Washington, D.C.Wayne Harvey is Comptroller for Radio Free Europe/Radio Liberty. He is a former CFOof several nonprofits including EastWest Institute, Big Apple Circus, Orbis Internationaland Center for Reproductive Rights.Kenneth Haas* was Managing Director of the Boston Symphony Orchestra.Honee A. Hess is Director of Education at the Worcester (Massachusetts) Art Museum.Jonathan Hess, AIA, is Executive Vice President of Browning Day Mullins DierdorfArchitects in Indianapolis, Indiana. Mr. Hess’ work has included museum designexpansions, including the Indianapolis Museum of Art and the Children’s Museum inIndianapolis.Michalann Hobson is an arts management consultant with extensive experience withtheatres and theatrical programs.Virginia Hubbell is President of Virginia Hubbell Associates. She serves as ExecutiveDirector of The Mental Insight Foundation in Sonoma, California, and Grants ProgramConsultant to the Louis R. Lurie Foundation in San Francisco, California.*deceasedThe Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 23
  25. 25. Aldona Jonaitis has been the Director of the University of Alaska Museum since 1993. Robert C. Jones is President and Executive Director of Opera Pacific. He has extensive background in museum and arts management. Jerold Kappel is Director, External Affairs, at Opera Pacific. He was Director of Development at the American Association of Museums in Washington, D.C. Brian Lacey, former Director of the Museums of Londonderry, Northern Ireland. Gilbert Levine conducts worldwide. In 1986, Sir Gilbert Levine became the first American to head a major orchestra in the East Bloc when he was appointed Artistic Director and Principal Conductor of the Krakow Philharmonic.Seminar in Kozmodemyansk Sharon Litwin is Senior Vice President, External Affairs of the Louisiana Philharmonic Orchestra. She was formerly Assistant Director of the New Orleans Museum of Art. Elaine M. Lomenzo was Managing Director of the Philadelphia Festival of World Cinema. Laura Longley was Director of Communications at the John F. Kennedy Center for the Performing Arts in Washington, D.C. She is now an independent consultant. Sandra Lorimer, an independent museum consultant from Ontario, Canada, specializes in the communication and management aspects of museum exhibition development. Peter Lyman, University Librarian for the University of California, Berkeley. Jack McAuliffe founded Engaged Audiences LLC as an executive coaching service to help orchestra leadership teams develop the strategies, infrastructures, and skills necessary to retain engaged audience members. He is the former Vice President and Chief Operating Officer, American Symphony Orchestra League. Christine M. Miles is Director of the Albany Institute of History & Art. Prior to that she worked at six museums, and has served as President of both the Museum Association and the Gallery Association of New York State. Ann Mintz has twenty-five years of museum management experience. She has served as Director of the Berkshire Museum, and CEO of the Chester County Historical Society. Amy Módly is the former International Liaison/Special Projects Director of the Cultural Office of the Deputy Mayor of Budapest. Valerie Morris is Dean of the College of Charleston, S.C. School of the Arts. Klaus Müller is a museum and web consultant, independent filmmaker, and European Program Coordinator for the U.S. Holocaust Memorial Museum, Washington, D.C. Dr. Müller is based in Amsterdam, Netherlands. Pamela Myers is Director of the Asheville Art Museum in North Carolina. Prior to that she was Director of Exhibitions, Guggenheim Museum, which included responsibility for exhibition and public programming at New York City, Venice and Bilbao sites. Susan Nichols is the Lunder Education Chair at the Smithsonian American Art Museum. She was the founding director of Save Outdoor Sculpture! Heritage Preservation, an award-winning national cultural program to inventory all public sculpture in the United States. Barbara Niemczyk was Director of St. Petersburg 2003 for CEC International. She has taught literature, culture and film of the former Soviet Union and Eastern Europe in several U.S. universities.24 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  26. 26. Jane D. Norman was Exhibits Conservator for the Freer Gallery of Art and the The most interesting presentations for meArthur M. Sackler Gallery, museums of Asian art of the Smithsonian Institution, were Marc Pachter’s, because it was gen- eral, practical, offered many things to learn,Washington, D.C. and corresponded to my personal field ofGary Osland is Principal of Osland Design Associates, Inc., New York City. interest and research; Ralph Appelbaum’sJack Pascarosa was formerly with Ralph Appelbaum Associates. for his final conclusions; Mark O’Neill’s and Jem Frazer’s for their case studies andM. Drake Patten is Executive Director of The Steel Yard in Providence, Rhode Island, good examples of strategies and tools forand was formerly with the Millay Colony for the Arts in Columbia County, New York. museum development, and Nick Appel-Elisa Phelps was the Director of Collections and the Curator of Anthropology at the baum’s, who analyzed strong and weak points of educational trends at museums.Witte Museum in San Antonio, Texas. The conference was very inspiring andJill Emery Phillips was Director of International Visitor Programs at the United States made me realize the need for changes atInformation Agency. my own museum. It also left me feelingCharles R. Ritcheson was Vice Provost and Dean of Libraries of the University of enthusiastic about the process of develop-Southern California, and former U.S. Cultural Attaché in London. ment and the future of museums.Julius Rudel was General Director and Principal Conductor of the New York City I hope to follow up with some of the peopleOpera for twenty-two years, and now conducts worldwide. I met in Bucharest. We have already discussed the possibility of exchanging ex-Jane Safer. See biography in “Senior Advisors” section. hibitions in the near future with colleaguesLady Sainsbury was Prima Ballerina of the Royal Ballet. She is a teacher and coach at from Moldova.the School of the Royal Ballet and the Ballet Rambert. ~ Participant of the 4th Annual Museum Conference in BucharestLord Sainsbury, former Chairman of Sainsbury’s Ltd., former Chairman of the Boardof the Royal Opera and Ballet, and a member of the board of the National Gallery,London, and of the Victoria and Albert Museum.A.N. Scallion, former Director of the Corporate Support Program for IBM.Sheldon Schwartz was Executive Director of the Merce Cunningham Dance Company.Patrick Sears. See biography in “Officers” section.Mary Delle Seltzer, former Director of Corporate Advertising and Cultural Sponsorshipsfor AT&T, and former Director of the Oklahoma Art Center.George Stuart Sexton, III, Principal, George Sexton Associates, a Washington, firm in architecture and museum services.Ken Shifrin has been Principal Trombonist of the City of Birmingham SymphonyOrchestra and the Radio Stuttgart Orchestra, and Associate Principal with the IsraelPhilharmonic.Kathy Dwyer Southern is President and CEO of the National Children’s Museum inWashington, D.C. She serves on the Boards of the American Association of Museums,and the International Committee on Museums, U.S.Julian Spaulding was former Director of the Glasgow Museums and Galleries withoverall responsibility for ten venues for the Museum.Chris Stager, Principal of CR Stager, a marketing and audience development firm. Hehas consulted with The Cleveland Orchestra, The Boston Pops, Houston Grand Operaand many symphony orchestras around the U.S.Robert Staples is Design Partner of Staples & Charles, Ltd., a museum interpretativeplanning and design firm in Alexandria, Virginia.The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 25
  27. 27. Cathy Card Sterling, an independent consultant, served as Director of Corporate and Foundation Relations with The Phillips Collection and Administrative Officer and Exhibitions Manager with The Corcoran Gallery of Art, both in Washington, D.C. Gary Sturm is Chair of the Division of Music, Sports and Entertainment at the National Museum of American History of the Smithsonian Institution, and is responsible for its diverse collection of 5,000 musical instruments. Martin Sullivan, is Director of the National Portrait Gallery, and was Chief Executive Officer of Historic St. Mary’s City, Maryland, an outdoor museum of history and archaeology in Maryland. He was Chairman of the U.S. Advisory Committee for the UNESCO Convention on Cultural Property. Sonnet Takahisa is Director of Education at the National September 11 Memorial & Museum at the World Trade Center. For 10 years she was Founding Co-Director of the New York City Museum School. She worked at the Boston Children’s Museum, Seattle Art Museum, and Brooklyn Museum, and has over thirty years of experience in museums and school reform. Lawrence Tamburri, President and CEO of the Pittsburgh Symphony Orchestra. Wendy Tiffin, former Director of sponsorship for the Southbank Complex in London. Allen Townsend, Chief Librarian at the Amon Carter Museum in Fort Worth, Texas. Formerly he was the Arcadia Director of Library and Archives at the Philadelphia Museum of Art. Linda Vadász is the former Executive Director of Arts Worcester in Massachusetts. She founded the Friends of the Budapest Fine Arts Museum, the first museum volunteer group in Hungary. James Weaver was Curator of Cultural History at the National Museum of American History at the Smithsonian Institution in Washington, D.C. Mr. Weaver is especially noted for creating public programs that expand the reach of individual exhibits to include concert performances, lectures, recordings, and radio and television broadcasts. Albert K. Webster, an arts consultant and former Managing Director and Executive Vice President of the New York Philharmonic. Peter Wexler, Principal of Peter Wexler, Inc., which produces programs for organizations including the Metropolitan Opera, the New York Philharmonic and the Smithsonian Institution. Carole J. Wysocki is the Director of the National Symphony Orchestra Education Program, and a senior staff member of the Education Department of the John F. Kennedy Center for the Performing Arts. During her twenty-five year tenure at the Kennedy Center, Ms. Wysocki has built the NSO Education Program into a vibrant force to further classical music education for young people. David Young is the graduate research professor in the Department of Theatre and Dance at the University of Florida, Gainesville, Florida. For more than 15 years, he was the Producing Director of the American College Theater Festival (ACTF) at the John F. Kennedy Center for the Performing Arts, Washington, D.C. Rena Zurofsky. See biography in “Governing Board” section.26 The Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report
  28. 28. THe fuND sTaffHugh Southern, Program DirectorHugh Southern, a graduate of King’s College, Cambridge (UK) has had a long andvaried career in arts management. After working for Robert Whitehead and EliaKazan in the original Repertory Theatre of Lincoln Center, and for Kurt Herbert Adlerat the San Francisco Opera, Mr. Southern was the founding Executive Director of theTheatre Development Fund in New York City in 1968. For The Fund he establishedthe TKTS half-price tickets booth in Duffy Square in 1974. In 1982 he was appointedby President Ronald Reagan to the position of Deputy Chairman for Programs atthe National Endowment for the Arts, where he also served as Acting Chairman until1989. Mr. Southern has served on a number of nonprofit boards, and as a consultantto many arts organizations.Nancy Robinette, Executive AssistantNancy Robinette is part-time assistant to The Fund. She is also a long-timeprofessional actress, having appeared in shows on Washington, D.C. stages for overtwenty-five years. She first worked with Jillian Poole in the development office of theKennedy Center for the Performing Arts as Manager of their Corporate Fund.Monika Jansen, EditorMonika Jansen is a freelance marketing writer and consultant. She joined The Fundin 2002 as Jillian Poole’s executive assistant. Since 2003, she has been editingthe consultant, semi-annual, and annual reports, overseeing website content,and managing communications. Prior to joining The Fund, Ms. Jansen worked inmarketing and public relations.The Officers of The Fund are also grateful to Officers and Advisors who served inearlier years:Madeleine K. Albright, Raymond J. Batla, Jr., Grant Beglarian*, Charles C. Bergman,Livingston Biddle*, Alexander Brody, John L. Callahan, Jean-Claude Carriere, MiltonCerny, C. Mathews Dick, Jr., Milos Forman, Andre H. Friedman, Leo-Ferdinand GrafHenckel von Donnersmarck, Heyward Isham, Robert C. Jones, Bradford Kelleher*,Roger Kennedy, Martin Klingenberg, Charlotta Kotik, Robert Lantz*, Gilbert Levine,Wendy W. Luers, Garrett Mitchell, Garrick Ohlsson, Senator Claiborne Pell*, LorinMaazel, Julius Rudel, Peter Shaffer, The Honorable Leonard L. Silverstein, MartinSullivan, and Alexander C. Tomlinson.*deceasedOn the Volga RiverThe Fund for Arts and Culture in Central and Eastern Europe—2008 Annual Report 27