My exhibits portfolio is partly a visual resume but more importantly a way to get a visual feel for my style, understand some of the challenges I faced in each of the exhibitions, and recognize the evolution of my professional growth.

1. Exhibits Portfolio-3
Laurie A. Sedicino, MA MHP
Museum Curator
~ Creative Exhibits
~ Thoughtful Storylines
~ Engaging displays
Section 3

2. I have included many samples of the exhibitions
I have curated in this PowerPoint so you can get
a visual feel for my style, understand some of the
challenges I faced in each of the exhibitions, and
notice the evolution of my professional growth.
Thank you for taking the time to peruse my
exhibitions portfolio.

3. 1. David J. Sencer CDC Museum, Atlanta, GA, 2012-2014; 2015-2017
 Health is a Human Right: Race and Place in America
 Ebola: People + Public Health + Political Will
2. Georgia State University, Atlanta, GA, 2017
 Health is a Human Right (reinterpreted)
3. William Breman Jewish Heritage Museum, 2017-2019
 Inescapable: The Life and Legacy of Harry Houdini
4. Writing Samples
Contents

4. HEALTH IS A HUMAN RIGHT:
Race and Place in America,
2014
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5. HHR
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One of the many challenges of
the exhibit was that it was not
a single event bracketed by
history but a historic reflection
over 120 years with
representative examples.

6. HHR
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The exhibition was not a timeline, but selected stories with
interpretation largely dependent on a visual narrative.

7. Georgia State University School of Public Health (GSU-SPH) visited the 2013-
2014 Health is a Human Right exhibition (above) while on display at CDC and
immediately assessed its value as a potential teaching tool with their students.
GSU-SPH acquired the text, illustrations, documents and photographic
reproductions and sought an appropriate location for display.
In February 2017, the School of Law
– a highly invested partner – offered
a pristine wall space among offices and
classrooms in their new building.
I was asked to coordinate the project
because I was most familiar with the
exhibition, having assisted in its
development and installation at CDC.
1 of 4Health is a Human Right – Georgia State University, 2017

8. This required modification of the exhibition from its original 4,500 ft gallery size
to 176 linear feet and be open for viewing in time for the 2017 Health Law
Professors Conference in four months, an extremely short amount of time to
execute the entire project.
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9. 3 of 4
It was necessary to conduct a complete
inventory of all items (over 250 panels plus text
and labels – all in storage) and to redesign each
section (total 17 sections) to adapt to space
limitations and the wall configuration.

10. The task also required judicious scrutiny of section cohesiveness in scholarship
(regarding storyline) balanced with visual appeal (so much of the exhibit had to
be condensed and/or eliminated because of space limitations and what panels
were deemed useable. The final selections still had to communicate the strongest
and most compelling point in relation to the section theme).
Additionally, I coordinated printing,
graphic design and layout and
oversaw the entire installation.
This was a huge undertaking
and an immense accomplishment.
The exhibit remains on these walls
and is used each semester
as part of several school’s curriculum.
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11. Inescapable:
The Life and Legacy of Harry Houdini
William Breman Jewish Heritage
Museum Atlanta, GA
Spring/Summer
2019
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12. Iimmediately recognized that it would be a
perfect fit to meet the needs of the
community. This determination was
enthusiastically supported by the entire
museum staff, especially when we
brainstormed the programs that could
accompany the exhibition.
.
The Breman board expressed a desire to see
a compelling but family-friendly summer
exhibition brought to the temporary gallery
that would round out the permanent
Holocaust exhibition and the long-running
Southern Jewish History exhibition in the
other two galleries. In response, I searched
and located the Houdini exhibition that
originated at the Jewish Museum of Maryland
(JMM).
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13. The transformation of it from a
temporary to a traveling exhibition
(with the Breman as its first travel
destination) presented many
challenges…
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The original exhibition,
however, was only developed as
a temporary exhibition with no
plans to travel.

14. Because the original exhibition never
intended to travel, each artifact was on loan
from various private collectors only for a
specified period. Consequently, each
lender’s loan terms had to be renegotiated.
Individual
contracts were
developed along
with meticulous
condition report
documentation,
typically the
responsibility of a
full-time,
experienced
museum registrar.
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15. Exhibition design
needed to be
completely reworked
from the original
layout to adapt to the
Breman gallery
dimensions with
consideration of a
difference in square
footage and
decreased permanent
and temporary wall
height.
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16. Because of the reduction in
Breman gallery wall height
compared to the JMM walls, all
vinyl murals had to be carefully
resized, which included figuring
the correct reduction in the size
of independent wall text and
quotes.
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17. Since the artifacts were not included with
the basic exhibition and owned individually,
some lenders decided not to extend their
loans. It took diligence, perseverance, and
collaboration with the original curator to
locate replacement artifacts…and maintain
the integrity of the exhibition...
…But each change
altered exhibit
design and a
constant adjustment
of case numbers and
sizes.
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18. Some wall colors were
changed from the original
JMM plan to fit the Breman
redesign. Colors of text
applied directly to walls
needed to be re-evaluated
(and altered) to ensure
appropriate color contrast.
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19. Given that the exhibition was not
developed with the intention of
traveling and some of the loans
secured differed from those in the
original exhibition, it was necessary to
carefully review, revise and reprint
numerous text panels and labels to
accurately reflect the “new” exhibition.
This resulted in constant space
adjustment and revision of the exhibition
design.
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With the loss of some of the original
artifacts, I researched and developed a
completely new section, “Media and
Houdini,” to add to the exhibition, replacing
a “lost” case with new objects. The added
topic enhanced storyline content.

20. During the most crucial and intense
phase of installation (the 8-12 weeks
before opening), the Breman Museum
transitioned from an
Interim Executive Director
to a new
Executive Director.
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The paramount responsibility of the new
Executive Director was to familiarize
herself with entire museum operations.
This took precedent over installation
problem solving, Still, I had to move
forward to address many urgent situations
and make
judicious decisions…

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With no opportunity (or time)
to fully orient the new Executive
Director to situations that needed
immediate attention, I relied on
and worked with my network of
external professionals and
specialists to provide the
consultation and expertise I
sought.

23. It took resourcefulness,
determination, and exceptional
interpersonal relationships with
partners and vendors to
reconcile the many challenges
and unforeseen obstacles
encountered.
The entire time I kept in mind
the end goal: present Houdini
with full integrity in design and
maintain (if not enhance) a
compelling storyline in text,
visuals, and artifacts. My efforts
and commitment paid off in
review of the final attendance
numbers:
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24.  Monthly records showed triple the amount of
visitors walking through the doors of the
museum in general compared to attendance
during Breman’s previous
temporary exhibitions
 The dramatic increase in attendance was
consistent regardless of whether or not
special programs were held in conjunction
with
the exhibition
 Non-members accounted for 72%
of attendance
 An increase in family attendance was noted
in the assessment of data
 Data revealed a notably sharp increase in
young adult male visitation (a population that
is typically a difficult museum draw)
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25. The Houdini exhibition, combined with exceptional programming,
turned out to be THE most successful exhibition in Breman’s
record-keeping history.
Houdini…proved to be magic
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26. “…Her narratives were compelling and thought-provoking, creating an
exhibit that reflected the awe and fascination we had with these cultures…”
Bill and Anne Marsh
Private Collectors
Exhibit: Elegance of Malice
“Laurie writes extremely well…and seeks to tell the stories of people with
their great appeal to visitors…”
Kathy V. Dixson, principal
Avient Museum Services
Wheels of Change permanent exhibit consultant
Writing Samples

27. Photography display:
The American Porch: Embraced, Discarded, Rediscovered
Main text panel
The front porch – a social, aesthetic and symbolic cultural object – has played an important role in the
national experience. In history, its forerunners include Roman and Greek columned verandahs and chambers
around front doors of British houses. West African house forms featured porches that reappeared on southern
“shotgun” houses. Whatever their origins, porches reflected the influence of the south’s temperate climate as a
place to seek shade and enjoy a cool evening breeze.
The porch existed as an in-between space that separated the public from the private realm. It evolved as
an outdoor living room, a setting of relaxation, entertainment and conversation for the family. Its cultural
significance represented the American ideals of family, community and nature and romanticized a particular
time in the American experience.
Technological changes in the post-World War II era spurred the decline of the porch. The automobile
flooded American streets with noise and exhaust fumes and drove people indoors. Air conditioners provided a
cool indoor environment and soon family rooms with television screens replaced the view from the porch and
the entertainment of conversation and games. Suburban backyard patios, decks and a desire for privacy further
contributed to the decline of the front porch. Practical and cultural ideals made the front porch important, and
cultural changes eliminated it. However, with the recent rethinking of residential development, some
subdivision designs and town plans have harkened back to old-fashioned American neighborhoods, and, with it,
the front porch has resurfaced, to recall a familiar scene close to the heart.
Writing Samples
Con’t

28. Exhibit:
Celebrating 100 Years of Boy Scouting in West Georgia
Intro panel excerpt
The gallery displays selected items from regional and national sources, but most
of the artifacts, uniforms, badges, photographs, and memorabilia are personal items
loaned by local Scouts, former Boy Scouts, and their families. These mementoes hold a
place of distinction among their memories. From the certificate that attested to the time it
took to learn and practice a new skill, to the achievement of the rank of Eagle Scout, each
person recalled the value of the experience and offered their treasured loan with pride. In
addition to nostalgic recollections of campfires that kindled friendships, there are
recollections of growth in aptitude and character. Many credit the skills and values they
learned in Scouting for helping mold them into the successful citizens and community
leaders they are today.
On this 100th Anniversary of the Boy Scouts of America, Legacy Museum
hopes the exhibit captures the spirit of scouting and communicates a local perspective of
its irreplaceable value in the lives of its participants and the community.
Writing Samples
Con’t

29. Exhibit:
Wheels of Change
Final text panel, Looking Back, Moving Forward
Throughout history, West Georgians have reinvented themselves as they built
new lives, responded to unforeseen events and kept pace with changing times. As pages
of history turned, new eras unfolded. Through these changes we find continuity in the
defining characteristics of the people: some were innovators and visionaries while others
simply adapted and showed tenacity, commitment, courage and determination. These
intangible qualities remain as legacies of our history. Landscapes they altered, structures
they built, tools they used and records they left stand as a testimony to their
perseverance. Consideration of our history and these legacies help us becomes aware of
how individual efforts have shaped our communities in the past and will do so in the
future. From this understanding we move forward to a new era as the history of West
Georgia continues.
Writing Samples
Con’t

30. Exhibit:
Working with Cotton from “Can See to Can’t”
Text Panel, Farmers ~ Caretakers of the Land
Family farming embodied many of the country’s most cherished traditional
values: hard work, independence, strong family ties and close-knit communities. For
many rural families, farming was much more than a vocation – it was a way of life.
Work on the land, often a legacy from parents and grandparents, meant a commitment
both to a place and to a tradition. To some farmers, leaving the land due to financial
hardship meant they failed both their families and their heritage and brought with it the
end of a personal connection to the land.
Writing Samples
Con’t

31. Exhibit:
Elegance of Malice: Swords from Talismans to Battle Weapons
Intro text panel
The weapons of the Moro and Javanese hold intrinsic value as exquisite samples of handcrafted,
traditional works of art, superior weapons of confrontation and historical objects. However, the
mystique that surrounds them does not result from their substance or in the methods of their
manufacture, but from the civilization and exploits of those who used these beautiful, but deadly,
objects. To understand what these weapons truly are, a glimpse into the cultures that made them and
the warriors who used them is necessary.
The story of these cultures is centered on the origins of the sword identified as the Kris. As a
battle implement, it was a fierce weapon; as a talisman, it was believed to posses supernatural powers
of protection. The sword was considered a vital accessory; in fact, no man would venture out in public
without his signature Kris tucked into his waistband, a tradition that survives today. Even today, the Kris
sword indicates status, identity, history, and an important link to ancestry. Layered with symbolism, the
sword, in the past and today, is cared for, protected, and respected.
Take a moment to appreciate these objects of combat. Enjoy the artfulness and mystery of the
heirloom Javanese Kris and the brute strength of the Moro battle Kris as you are reminded of the
unique cultures that forged them, the ideology that underscores them, and the people they represent
who fought for independence throughout history.
Writing Samples
Con’t

32. Exhibit:
Homelife on the Eve of the Civil War
Intro text panel
The Home Life on the Eve of the Civil War exhibit featured selected artifacts from
homes of descendents of early families living in pre-Civil War West Georgia. Each object
gave visitors the opportunity to reach back into history and touch a part of life from the
area’s early days of settlement. Some revealed how families lived their daily lives on a farm;
some reflected the preferences of the affluent in their selection of imported, manufactured
furniture and accessory items. Other objects told of regional carpenters who, because of
their skill, added style and detail to even the most utilitarian objects. And still others
pointed to a slave artisan who, though enslaved, was his own man when making something
out of wood. Through examination of these objects and the stories of those who owned,
made or used them, a heritage of the area is disclosed. All revealed that our ancestors did
not live in a drab world, and that each person, whether slave or free, brought their culture
with them and left behind a West Georgia legacy.
Writing Samples
Con’t