IAM Blogs

By: Shana Cooper, Founder of The Resiliency Collective

Over the last few years, museums have been innovative in their approaches to furthering learning, engagement, and community. Many of these approaches are guided by the principles of diversity, equity, inclusion, and access, and driven by the urgency of the pandemic. While significant progress has been made to advance museums’ relationship with their audiences, there are still areas ripe for development.

Mental health–an essential component of overall wellbeing–is often left out of traditional DEIA frameworks. Integrating it could provide a tremendous benefit to communities and the museums serving them. The Resiliency Collective offers a next step in innovating the relationship museums have with their audiences by addressing their needs beyond learning and leisure and focusing on their mental wellbeing. Launched in 2021, The Resiliency Collective is a partnership between museum and mental health communities to create mental health-themed exhibits and programs at participating locations across Illinois. Since then, the project has grown to encompass a variety of services and resources designed to help museums reach new and returning audiences in deeper, more connected ways.

The strategies used in the project can be incorporated into any museum’s new and ongoing exhibits and programs and can serve as a model for how to get started. This blog explores some ways to begin this work.

West Chicago City Museum, West Chicago, IL

GETTING STARTED

START WITH WHAT YOU KNOW

As historians, educators, and program leaders, you know the importance of understanding your community and meeting them where they are. You also know the benefit of community connections for visitors and museums alike, so begin there, with a common purpose to engage.

Learning and education: What makes you unique as a community space, is that you are continuously learning and educating as new research, knowledge, and understanding emerges. Where we once believed mental health should be discussed privately and treated only clinically, we now see normalized conversations and myriad alternative approaches. This is an opportunity for you to do what you do best: learn about a relevant topic through research, training, and interacting with others, and then share what you know in practice. One organization to help you start is NAMI Illinois (National Alliance for Mental Illness). Every area of the state has a local NAMI affiliate that offers resources and support, and the organization provides training for staff at organization serving the public. The Resiliency Collective partnered with NAMI Illinois in 2023 to bring specialized exhibits and programs to three museums and cultural organizations across the state.

Illinois Art Station, Normal, IL

Maximizing your resources. As community organizations, you are experts at maximizing what you have, operating on creativity, and leaning into your network to rally your resources. Not only is integrating mental health and wellbeing into your work an extension of your practice, it also expands your toolbox to include more resources, ideas, and experts in your network. The Resiliency Collective is intended to broaden that network of resources and connections to reach more audiences and tailor experiences to those you already serve.

You have experience presenting sensitive topics. If you have hosted exhibits or events that offer insight into challenging times or tell the story of an extraordinary event, you have already broached mental health topics with your audience. You know how to do this in an educational format, now you have an opportunity to invite engagement beyond general questions. What your audience experiences when you present challenging material is as relevant to your interactions as academic information. It is the human elements that will stay with them afterward and encourage them to come back.

You already know your audience. It is all of us. People in your community who regularly or casually visit your space are living with mental health conditions. You are already interacting with them, and they are already engaged. You are part of this audience if you have, have ever had, or will ever experience a mental health condition, know someone who lives with one, know someone who cares for someone with a mental health condition, or considers yourself someone who cares about your own and others’ wellbeing. You can connect with your audience through shared experience almost right away. 

The next blog post will discuss where to go from here and include local and national examples of other museums already doing this work.

For more information on the project, or to learn how to get started, please reach out to

Shana Cooper at sbcooper79@gmail.com.

By Anne Pesola, Museum Manager at the little White School Museum

In the last 5 years, field trip numbers have decreased all over the country. From Covid-19 restrictions, to transportation issues, schools just don’t seem to be visiting museums anymore. While it is a huge setback, it does not mean we should give up on trying to reconnect with the schools! Listed below are just a few ideas to help reinvigorate your field trip and school program efforts.

1. Make it Relevant!

This may hurt for some people to hear, but most children do not want to hear about the architecture of the building or the very detailed history of the town. They want to relate to the material and be able to see themselves living in the past. Don’t dumb down your information, but rather, find a new way to approach it. Why not use some modern pop-culture references? Building a town/building in Minecraft is not that different from how settlers had to do it in real life! Get the students talking and laughing, it’s amazing how much more they will remember!

2. Make it Flexible

No two classrooms or schools are the same, so why try to force everyone to have the same experience? If one school wants to visit but cannot get the transportation, make a traveling version that can be taken into the school. If one class needs a lot of accommodations, slow the programs down and create time for breaks or snacks. Include alternative supplies for crafts or steps for games. This generation of students is not used to field trips and your program may be the first one for most of them!

3. Link Everything Back to State Standards

This one is a given, but has become increasingly more important in recent years. The more work you do for the teachers, the more likely they are going to be able to justify taking students on a field trip. Listed at the end of the article are links to the Illinois Social Studies Standards, but don’t be afraid to also look at science, math, English, and art standards! If you’re making a STEM or STEAM field trip, include as many standards as you can.

4. Go to Teacher Events

Tired of all your emails to schools going ignored or sent to spam? Try meeting the educators in person! Most school districts have a “Welcome to our School” event for new teachers. These are great events for you to get to know some of the new and returning teachers. You may also run into the school principals, who can be just as helpful because they may be the ones who are going to make the decision if the school can afford to send classes to your museum. Talking to teachers is important, but the higher up you go, the better your chances are!

5. Think Outside the 3rd Grade Experience

Finally, don’t forget that field trips are not just for 3rd and 4th graders! Every school grade can benefit from a visit to/from a museum. Get creative in what programs you want to offer. Does your local high school have a civic course? Is there a creative writing class that always needs space to perform? Are the local daycares looking for short day trips? Children both young and old deserve a day outside the classroom, so don’t be afraid to look beyond what has been done before. Do you have any other pieces of advice you’d like to share with others? Comment about your field trip experiences below!

Links to Illinois Social Studies Standard Resources:

● https://www.isbe.net/Documents/IL-Social-Science-Standards.pdf

● https://www.illinoiscivics.org/standards/

● https://www.isbe.net/Documents/K-12-SS-Standards.pdf

By Emily Dattilo, Director of the Mount Prospect Historical Society

I work with some incredibly talented and dedicated board members at the Mount Prospect Historical Society (MPHS). They consider themselves to be a “working board,” which means everyone understands that they have a part to play in keeping MPHS running. Here are five ways to engage your museum board based on my experiences:

1.      Find each board member’s strengths.

Each board member brings their own unique talents and interests to your museum. Once you know what their strengths are, you can find projects that your board members will be invested in. For instance, one of the most successful examples of this strategy at MPHS is in our Living History Committee. This group of both board members and other volunteers tackle creating and facilitating our educational programs for all ages. Most of the participants are retired educators, so they already have decades of experience. Their commitment to the task shines through in the quality of the programming and the enthusiastic response from the community. 

2.      Don’t be afraid to ask for the board’s help directly.

The board is there because they want to help the museum, but board members may not always know where their help is needed. Asking board members to help with specific tasks gives them a clear way to support the museum’s activities. Our biggest fundraiser of the year, the annual Holiday Housewalk, is a great example of how MPHS board members answer the call for volunteers each year. Each person on the board participates in this event, from the planning process to handling ticket sales at the event to giving tours of the houses.   

3.      Meet board members where they are in life and manage your expectations accordingly.

It’s important to remember that every board member has a life outside of being a board member and that can affect the amount of time and the ways that they’re available to help out. A stay-at-home parent, for instance, may be more available during the school year than during the summer, while an active retiree might set aside a few hours a week for museum projects all year round.

4.      Be willing to train board members when necessary.

Just like any volunteer, board members may need training for whatever project they’re about to undertake. When a board member becomes a Dietrich Friedrichs House tour guide, for example, I schedule a time to meet and to go over the interpretation notes, as well as to see other volunteer tour guides in action. I want to make sure they have everything they need to feel comfortable and prepared for the role.

5.      Show your appreciation!

Don’t forget to show your board members that you appreciate their contributions to the museum! At the end of the day, they’re volunteers who are choosing to spend their free time supporting your museum. Even a short thank-you note makes a difference. Each summer we host a brunch inside our one-room Central School to thank all our volunteers, including the board members. Nothing says “thank you” quite like delicious food! 

The Dietrich Friedrichs House (left) and Central School (right) at the Mount Prospect Historical Society

 By Anne Jordan, Manager of the Little White School Museum, Oswego, IL

Happy Women’s History Month! To celebrate the wonderful women who helped establish Illinois (and the country as a whole), why not spend some time visiting a few women-centered history museums? Listed below are some of the museums in Illinois that are specifically dedicated to women. That’s not to say these are the only museums that talk about women, but these are the ones that stand out because women are the main characters.

Jane Addams Hull-House Museum

Starting out in Chicago is one of the best-known female-center museums. Their “About Us” page really does say it all, stating the “Jane Addams Hull-House Museum serves as a dynamic memorial to social reformer Jane Addams, the first American woman to receive the Nobel Peace Prize, and her colleagues whose work changed the lives of their immigrant neighbors as well as national and international public policy. The Museum preserves and develops the original Hull-House site for the interpretation and continuation of the historic settlement house vision, linking research, education, and social engagement”. It is a definite must-see if you are looking to celebrate women and their histories.

Edith Farnsworth House

Located in Plano, the Edith Farnsworth house is a stunning glass home, built by renowned architect Miles van der Rohe and completed in 1951. What’s even more remarkable is that in 2021, during the home’s 70th anniversary, the museum changed its name from the Farnsworth House to the Edith Farnsworth House. Dr. Edith Farnsworth was a prolific doctor during World War II, as well as the original owner of the house, so it was only fitting that the name addresses her properly.

The Holt and Stewart Houses

Heading out to Monmouth, there are not 1 but 2 historic houses that are very important to women’s history. In 1867, “Major” Jacob Holt’s home was used by a group of females from Monmouth College as the meeting house for their secret society, I.C. Sorosis, which later became the international women’s fraternity, Pi Beta Phi. Similarly, Mary “Minnie” Stewart’s house, is the site of the Kappa Kappa Gamma’s founding in 1870. Both sites are open for tours and tell the incredible stories of the women who wanted to have the same collegiate opportunities as their male counterparts.

Martin Mitchell Mansion (Pine Craig)

If you go to Naperville, be sure to check out this amazing home, which is part of Naper Settlement. Built in 1883 by George Martin, this historic house defies the norm and focuses its narrative on the women of the Martin family. Caroline Martin Mitchell, the last surviving heir, is the main character of these tours, though her sisters also discussed in length. Another wonderful note about this location is the detail and respect both the home and tours give to another Martin daughter, Elizabeth, who was born with dwarfism.

The Dana-Thomas House

Down in Springfield, there is another museum that chooses to address both the architect of the building as well as the female owner. The Dana-Thomas House (designed by Frank Lloyd Wright in 1902) allows visitors to learn more about Susan Lawrence Dana, a “forward thinking socialite”, who involved herself in many causes, from equal rights to women, to finding the spiritual truths of the world. This 12,000 square-foot house also features 450 art glass windows, doors and light fixtures designed by Wright himself. You don’t want to miss this tour next time you’re in the state capital. 

Schmidt-Burnham Log House

Back in Winnetka, stands the oldest log structure in Cook County! The Schmidt-Burnham Log House was built around 1837 and “discovered” by Chicago artist Anita Willets-Burnham in 1914 while on a painting trip. The museum now displays many of Anita’s paintings and possessions she acquired over the years. A beautiful little museum surrounded by nature sounds like a perfect spot to visit this March!

The Schweiker House

Over in the suburbs of Schaumburg, lies the Schweiker House, which was completed in 1938. While the story of the first owner and architect is interesting on its own, it’s the second owners that are of interest to this article. Martyl Langsdorf, the designer of the Doomsday Clock, and her husband purchased the home in 1953 after she fell in love with the studio. Today the museum masterfully tells the story of both inhabitants, but does pay special attention to Martyl and some of her most beautiful paintings.

The Glessner House

In the heart of Chicago stands this magnificent museum that pays its respect to the Glessner family who lived at the estate for 50 years. This location is special because there are 2 women of note who called this place home at one point or another. Frances Macbeth Glessner was heavily involved in many philanthropic organizations around the city, including being a founding member of the first chapter of the D.A.R.. Frances Macbeth's daughter, Frances Glessner Lee, earned her own notoriety when she created her “Nutshell Studies of Unexplained Death” miniature crimes scenes and improved the field of Forensic Sciences. 

Are there any we missed? Let us know in the comments below!

Note: The Center for Women’s History and Leadership as well as the Francis Willard House Museum are not included in this list as they are in the middle of a transition where the CWHL is no longer in control of the Willard House. Both locations are in the process of recentering their missions and business hours.

By: Anne Jordan, Manager of the Little White School Museum. Oswego, IL

Photo Courtesy of Illinois State Agricultural Society, 1861 - Transactions of the Illinois State Agricultural Society, with Reports from County and District Agricultural Societies, Volume 4

How much do you know about the history of museums in Illinois? Did you know we don’t have a definite “first” museum? A few locations claim the title, but it's actually quite difficult to determine which came first. Featured below is a brief overview of the 3 best candidates for the coveted title of “Illinois’ First Museum”.

The first open is Illinois’ first society-turned-museum. The Chicago Historical Society, today known as the Chicago History Museum is “the oldest cultural institution in Chicago and one of the oldest in the state of Illinois”^[i]. It was founded on April 24th, 1856 and received its charter from the State in 1857. Its objectives from the very beginning were “To encourage historical inquiry, and spread historical information, especially within the State of Illinois, and also within the entire territory of the Northwest—to embrace, alike, their aboriginal and modern history."^[ii] The charter also calls for “the establishment of a library of books and publications, appropriate to such an institution, with convenient works of reference, and also a cabinet of antiquities, relics, etc.”^[iii], creating not only a traditional historical society, but the beginnings of an incredibly robust collection and awe-inspiring museum.

In 1868, the Chicago Historical Society opened its first, private building, located at the corner of Dearborn and Ontario Streets. However, thanks to the Great Chicago Fire of 1871 (and subsequent fires) most of the society’s original archives were destroyed. CHS, though, took these setbacks in stride. The loss of their buildings and collections gave them time to reflect on their original charter and look outward to what other institutions in the area were doing to stay relevant. This break led the society to finally opening its doors to the public in 1906^[iv], and they haven’t turned back since. In 1932, CHS’s final location in Lincoln Park opened^[v], and has remained in operation (albeit with a new name) since.

While the Chicago History Museum offers a lot of evidence to suggest it is Illinois’ first museum, our second contestant makes the bold claim of being the first private scientific museum in Chicago as well as the first public museum in the city as well as the state.

The Peggy Notebaert Nature Museum, originally referred to as the Chicago Academy of Sciences was founded by “nature aficionados and amateur scientists seeking a space where they could study and share the specimens they collected”^[vi] in 1857. Dedicated to preserving and studying the natural world around them, the Academy opened its first museum in 1865, originally just intended for active members^[vii]. However, with the collections continuing to grow (at one point becoming the fourth largest natural history collection in the country^[viii]), a new museum opened in 1869. Due to the growing interest outside of the academy, it was this second location on Wabash Avenue that decided to open its doors and become the state’s first public museum. 

Unfortunately, just like the Chicago Historical Society, the Academy of Sciences also lost a large portion of its original collections in the Great Fire of 1871. But just like CHS, the Academies also decided to persevere and build another museum. On October 10, 1893, the cornerstone of the building in Lincoln Park was laid^[ix]. For the next 100 years, the museum grew until it was finally time to move once again. In 1999, the new building opened, this time with a new name. “In recognition of the significant donation given to the Academy by Dick and Peggy Notebaert, the building was named the Peggy Notebaert Nature Museum”^[x]. Today, the museum continues its mission to provide opportunities for people of all ages to interact with science and nature all around them.

Our final “first” museum takes us out of Chicago, all the way to Bloomington-Normal, Illinois. This short-lived museum is important because it reminds us that Chicago was not the only city in Illinois with histories worthy of remembering.

The Museum of the Illinois State Natural History Society (later known as the Illinois Museum of Natural History) was founded in 1858, after an Illinois State Teachers’ Association meeting (held in 1857)^[xi] thought the state needed more studies on the land and animals around them. Thus, the Illinois State Natural History Society “was formed as an agency for the natural history survey of the State in the old sense of an accumulation of museum specimens and a descriptive records of its zoology, botany and paleontology–meteorology and physical geography being nominally included”^[xii]. The original museum was housed on the third floor of the Old Main building of Illinois Normal School, today known as Illinois State University. However, by 1877, it was decided that the collections would be better suited in the newly founded Illinois State Museum^[xiii]. With that, central Illinois’ first museum was no more.

By the 1900s, Illinois was well underway to being a state full of museums. In fact, in 2017, the Illinois Association of Museums estimated “over 1,300 institutions preserving history and memories of the state [with] the overwhelming majority historical societies and museums"^[xiv]. While COVID-19 most certainly irrevocably affected these institutions, Illinois is still a state dedicated to preserving the culture and history of its people from thousands of years ago until today.

^[i] Lewis, Catherine M. 2005. The Changing Face of Public History: The Chicago Historical Society and the Transformation of the American Museum. 11. 

^[ii] 1857. Chicago Historical Society Charter.

^[iii] ibid.

^[iv] Lewis, Catherine M. 2005. The Changing Face of Public History: The Chicago Historical Society and the Transformation of the American Museum. 12.

^[v] https://www.chicagohistory.org/about-us/museum-history/

^[vi] https://naturemuseum.org/explore/history/

^[vii] https://naturemuseum.org/explore/exhibits/heritage-of-the-chicago-academy-of-sciences/

^[viii] https://naturemuseum.org/explore/history/

^[ix] ibid.

^[x] ibid.

^[xi] Forbes. S.A. 1907. “History of the Former State Natural History Societies of Illinois” Science. 892.

^[xii] ibid.

^[xiii] https://www.illinoisstatemuseum.org/ism-system-content/illinois-state-museum-history.html

^[xiv] Fowler, Laura Milsk. 2018. “Museums 2.0: Lessons for Illinois Museums for the next 200 Years”. Journal of the Illinois State Historical Society. 137.

A Bicentennial Crossroads:

200 Years of Continuity and Change in Rural Illinois 

Book Summary

By: Matt Meacham   

     “They and others like them demonstrate remarkable dedication to the ongoing cultural vitality of their communities, and they act upon that dedication with equally remarkable ingenuity, industriousness, and perseverance,” reads the penultimate sentence of A Bicentennial Crossroads: 200 Years of Continuity and Change in Rural Illinois, published in November 2023 by the Illinois Open Publishing Network.

     Who are “they,” you ask? “They” are the six small-town cultural institutions in Illinois—including three museums in addition to two libraries and one visitors’ center—that hosted Crossroads: Change in Rural America, a Museum on Main Street exhibition from the Smithsonian Institution and Illinois Humanities, in 2018-19.

     As program manager for statewide engagement with Illinois Humanities, I have the privilege of managing our participation in Museum on Main Street in cooperation with the Smithsonian Institution Traveling Exhibition Service.

     The program not only enables Illinoisans to experience Smithsonian-produced exhibitions in their own proverbial backyards but also gives the local organizations that host those exhibitions opportunities to enhance their roles within their communities and regions, attract new audiences and volunteers, expand their knowledge and resource bases, and develop skills that can be applied toward future exhibitions and programs.

     Our tour of Crossroads: Change in Rural America coincided with the Bicentennial of Illinois statehood. The intersection of those two events gave us an opportunity to contemplate and celebrate the significance of rural life over the 200-year history of Illinois as a state and to discuss its continuing evolution and possibilities for its future.

     The institutions that hosted Crossroads—Chester Public Library (Randolph County), the Old School Museum in Winchester (Scott County), the Lake Shelbyville Visitors Center (Shelby County), the Atlanta Museum (Logan County), Marshall Public Library (Clark County), and the DeKalb County History Center in Sycamore—produced companion exhibitions and public programs that compellingly addressed many of the most significant themes in the life of rural Illinois, past and present.

Crossroads: Change in Rural America, with Components of the DeKalb County History Center’s companion exhibition interspersed. (Photo courtesy of the DeKalb County History Center.)

     Collectively, those exhibitions and programs formed a remarkable survey of continuity and change over two hundred years of rural Illinois’s existence. Additionally, the ways in which the host organizations conducted their work reflected and responded to ongoing change in rural Illinois, contributing to their communities’ and regions’ efforts to sustain and enhance their cultural vitality.

     For those reasons, it seemed to me that what the Crossroads hosts produced and how they produced it deserved to be documented in some form. That form eventually turned out to be A Bicentennial Crossroads: 200 Years of Continuity and Change in Rural Illinois, a book-length, photo-illustrated essay available online, free of charge.

     A Bicentennial Crossroads begins with an introduction that discusses various interpretations of the word “rural” and their implications for the Illinois tour of Crossroads: Change in Rural America, as well as the content of the Crossroads exhibition, which encompasses six thematic sections: “Introduction,” “Identity,” “Land,” “Community,” “Persistence,” and “Managing Change.”

     A Bicentennial Crossroads is organized into two main sections (following the introduction): “Reflections on Content” and “The Exhibition in Context.”

     “Reflections on Content” synthesizes and contextualizes much of the knowledge presented by the host organizations’ companion exhibitions and public programs. It consists of the following chapters:

1.     “Beginning ‘Where Illinois Began’” – The tour commenced in Chester, the town nearest Illinois’s first state capital, Kaskaskia, and the hometown of one of the two curators of Crossroads, eminent agricultural historian and museum professional Debra Reid.

2.     “Rivers Run Throughout” – Companion exhibitions and programs presented by Chester Public Library and the Lake Shelbyville Visitors Center highlighted the environmental, economic, and social significances of the Mississippi and Kaskaskia rivers.

3.     “Fertile Ground for Agricultural Change, Part 1” – Major innovations originating in Shelby and DeKalb counties, involving products ranging from hay balers to barbed wire to seed corn, substantially influenced the evolution of agriculture not only locally but nationally and even globally.

4.     “Fertile Ground for Agricultural Change, Part 2” – The experiences of two multigenerational farming families in Clark County, documented and presented by Marshall Public Library, illustrate long-term agricultural trends in the lower Midwest.

5.     “Fertile Ground for Agricultural Change, Part 3” – The Old School Museum examined how the introduction of gasoline-powered tractors influenced farming in Scott County; the Atlanta Museum fostered the creation of a mural illustrating the importance of agriculture to local identity; and Chester Public Library discussed wheat production and flour milling from the French Colonial period to the present.

6.     “Generating Energy (and Occasionally Controversy)” – The Lake Shelbyville Visitors Center’s programs and companion exhibition illustrated the multifaceted significances of coal mining and rural electrification in Shelby County; the Old School Museum explored the Illinois Rural Electric Cooperative’s history of innovation; and the DeKalb County History Center facilitated discussion of current local issues involving wind and solar energy.

7.     “Moving Materials, Goods, People, and Money” – The Shelbyville Industrial Rail Spur has benefitted Shelby County’s manufacturing sector; the Old School Museum examined how the dawn of the automotive era affected Winchester and surrounding communities; and the Atlanta Museum’s mural underscores the economic and cultural significance of Route 66.

8.     “A New Model for Rural Medicine” – Two innovative medical clinics established in Clark County in the 1970s, profiled in Marshall Public Library’s companion exhibition, have influenced health care provision in rural settings throughout the United States and beyond.

9.     “Ethnicity, Immigration, Discrimination, and Social Dynamics” – The DeKalb County History Center’s companion exhibition discussed local histories and current trends involving the Potawatomi Nation, Swedish immigrants, African Americans, and Latinx migrants and residents; Chester Public Library noted that French Colonial agriculture involved slavery; and the Lake Shelbyville Visitors Center hosted a presentation by the authors of Sundown Town, a novel describing the racial and labor-management tensions surrounding the Pana Riot of 1899.

10.  “Classrooms, Community, and Change” – The Atlanta Museum produced a companion exhibition based on extensive original research about the complex social impact of school consolidation in northeastern Logan County.

11.  “Gathering Around Sports, Entertainment, and Arts, Then and Now” – A program presented by the Atlanta Museum addressed the role of sports in community life; the Lake Shelbyville Visitors Center’s companion exhibition discussed efforts to preserve the Shelbyville Chautauqua building; the DeKalb County History Center conducted a rural-themed photography contest and examined the cultural importance of community festivals; and several host organizations hosted musical events with commentary.

     “The Exhibition in Context” describes how the host institutions’ contributions to their communities and regions, including their presentation of Crossroads and associated exhibitions and programs, relate to the ongoing evolution of rural Illinois. It includes these chapters:

12.  “Contributing to a Renaissance in Winchester” – The opening and ongoing development of the Old School Museum have bolstered a social and economic revitalization trend in Winchester.

13.  “Connecting Old and New in Marshall” – Marshall Public Library’s hosting of Crossroads coincided with the reopening of its building following a major renovation, as well as the ongoing expansion of its local oral history program, enhancing its status as a multifaceted cultural and technological hub.

14.  “Making Bold Strides Together in DeKalb County” – In conjunction with preparations for Crossroads, the DeKalb County History Center opened its new, state-of-the-art facility; developed a countywide network of mutually supportive museums and historical societies; and curated a comprehensive companion exhibition in partnership with many of those organizations.

15.  “Communitywide Cooperation in Shelby County, Chester, and Atlanta” – Crossroads-related activities at the Lake Shelbyville Visitors Center, Chester Public Library, and Atlanta Museum reflected thoughtful collaboration among many local individuals and institutions.

16.  “Conclusion: Blessings, Curses, or Both?” – If the people who signed our state’s first Constitution were to review developments that have occurred since their own era, as described in A Bicentennial Crossroads, how might they evaluate rural Illinois’s evolution? How might present-day rural Illinoisans respond?

     The last sentence of A Bicentennial Crossroads states, “If current and future generations of rural Illinoisans learn from [the Crossroads host organizations’] examples and apply what they learn, then perhaps there is at least a chance that the social fabric of our state will remain intact or even grow sturdier amid whatever changes the next two centuries bring.”

     Both the Illinois Association of Museums and Illinois Humanities are eager to help make it so. More information about Museum on Main Street is available here.

In recent years, there has been a contentious discussion surrounding small historic house museums in the United States. In the Boston Globe article, "The Great Historic House Museum Debate," Ruth Graham delves into the issues.

WHAT IS AT STAKE

Preservationists have raised concerns that there are simply too many house museums, and some should consider closing. The National Trust for Historic Preservation estimates that there are more than 15,000 across the country.  

These museums are typically located in former private homes, and are run by local historical societies and volunteers, offering guided tours of antique furniture and local history exhibits. While larger museums enjoy increased attendance and funding, such as the Metropolitan Museum of Art, which welcomes over six million visitors per year, many smaller house museums are struggling to survive. 

SUSTAINABILITY

The debate has intensified in recent years, with high-profile preservationists publishing articles questioning the sustainability of house museums and organizing conferences on the topic. Stephanie Meeks, the president of the National Trust for Historic Preservation, criticized the traditional house museum model as financially unsustainable and overused. She called for new preservation strategies.

PROTECTING THE HOUSE

However, defenders of house museums argue that they play a crucial role in preserving cultural heritage. They stress that each house museum is unique, offering intimate insights into local history, family life, and overlooked narratives. Despite the challenges they face, these museums continue to contribute to the nation's cultural tapestry.

UNIQUE CHALLENGES

House museums' struggles arise from various factors, including competition from other museums, online distractions, and reduced emphasis on history in public education. Traditional house museums often rely on small budgets, volunteers, and minimal endowments, making their financial sustainability a significant concern.

Critics argue that when house museums receive only a few visitors, they may not be serving their communities effectively. They suggest converting these historic properties into bustling community centers as an alternative.  House museum supporters highlight the value of these institutions in preserving intimate domestic stories and local culture, noting that many house museums serve remote communities lacking major art museums.

NEW MODELS

Various models for stabilizing or repurposing house museums have emerged. Creative programming, community engagement, and partnerships with other organizations have helped some museums thrive. 

Alternative solutions such as merging with other organizations, leasing properties to for-profit entities, or selling outright have been proposed as ways to ensure the preservation of historic buildings while moving away from the traditional house museum model.

PEERING INTO THE FUTURE

While the future of small historic house museums remains uncertain, it's clear that not all will survive in their current forms. The debate continues, addressing issues of cultural heritage, public history, and community engagement. Some believe that turning these museums into vibrant community spaces may offer a promising way forward, even as they acknowledge the sense of loss that would come with such a transition.

In any case, house museums will not be vanishing any time soon!

Museums are the caretakers of our cultural heritage, providing engaging exhibitions and programs that help tell stories of our past. Behind the scenes, an often-underappreciated group plays a crucial role in helping institutions fulfill these tasks: interns. 

These young, enthusiastic individuals bring fresh perspectives, energy, and creativity to the museum environment, making them invaluable assets to the institution. In this blog post, we will explore the importance of interns in museums and how their contributions shape the future of these cultural institutions.

1. Bridging the Generation Gap

Interns, often students or recent graduates, bridge the gap between generations in museums. Their youthful energy and innovative thinking inject a new life into the traditional museum setting. By embracing modern technologies and contemporary trends, interns help museums stay relevant and appealing to younger audiences, ensuring the institution's longevity.

(Featured Lombard Historical Society Interns Abby Remaine and Joe Noce) 

2. Diverse Perspectives and Inclusivity

Interns come from diverse backgrounds, cultures, and academic disciplines. This diversity enriches the museum's perspectives, leading to a more inclusive representation of history and art. Interns challenge existing narratives and offer alternative viewpoints, encouraging museums to be more open-minded and accommodating to various interpretations of their collections.

3. Skill Development and Mentorship

Internships provide aspiring museum professionals with hands-on experience and a chance to develop essential skills in curation, conservation, education, and public outreach. Through mentorship programs, interns learn from seasoned professionals, gaining valuable insights into the intricacies of museum work. This mentorship not only benefits the interns but also ensures the transfer of knowledge and expertise to the next generation of museum curators and educators.

4. Community Engagement

Interns play a pivotal role in community engagement initiatives. They often assist in organizing events, workshops, and educational programs that connect the museum with the local community. By fostering these relationships, museums become more accessible and inviting, breaking down barriers between the institution and the public. Interns contribute significantly to creating a sense of belonging and pride within the community.

5. Research and Innovation

Interns bring fresh perspectives to research projects within museums. Their curiosity and academic backgrounds enable them to explore new avenues of study, leading to innovative exhibitions and programs. Their contributions push the boundaries of traditional museum practices, encouraging museums to embrace experimentation and creativity.

6. Cost-Effective Labor

Museums often operate with limited budgets, and interns provide a cost-effective labor force. They can assist with various tasks, reducing the workload of permanent staff and allowing the museum to allocate its resources more efficiently.

7. Career Development:

Internships serve as a valuable steppingstone for aspiring museum professionals. Many former interns go on to build successful careers in the field, becoming curators, educators, conservators, or museum directors. Museums often provide mentorship, training, and networking opportunities to help interns further their careers.

Lastly, interns are the lifeblood of museums and breathing innovation into our institutions. Their diverse perspectives, energy, and commitment to learning enrich museums, making them more engaging and accessible to the public. As museums continue to evolve in response to societal changes, interns will remain instrumental in shaping the future of these cultural institutions. It is essential to recognize and appreciate the invaluable contributions of interns, as they play a vital role in preserving our past and inspiring future generations in the field.

Article By Alison Costanzo, IAM Board Member and Executive Director of the Lombard Historical Society.

In today's digital age, the role of museums extends beyond their physical walls, thanks to the power of social media. Whether large or small, museums are finding that social media is an indispensable tool that allows them to connect with audiences, enhance their impact, and remain relevant in an ever-changing world. In this blog post, we'll explore why social media is a crucial asset for museums, no matter the size of their institution.

Why is social media important?

Large museums might have established reputations, but smaller institutions can struggle to gain recognition. Social media levels the playing field. It offers museums of all sizes a platform to reach a global audience. The power of a well-crafted post can catapult a small museum into the spotlight, attracting visitors and supporters from near and far.

Cost-Effective Marketing

Social media is a cost-effective means of marketing exhibitions, events, and programs. Even museums with limited budgets can use these platforms to showcase their offerings and engage with their communities. This affordability allows smaller museums to allocate their resources to other critical needs, such as collections care and preservation.

Community Engagement

Museums, regardless of size, rely on the support of their communities. Social media facilitates direct interaction with local residents and museum enthusiasts worldwide. It creates a sense of community around the museum, fostering loyalty and increasing the likelihood of repeat visits.

Educational Outreach

Museums are educational institutions, and social media extends their reach as educational resources. Through informative posts, videos, and live streams, museums can disseminate knowledge and spark curiosity among their followers. These platforms enable museums to fulfill their educational missions in innovative ways.

Advocacy

No matter their size, museums can use social media to advocate for cultural preservation, diversity, and inclusion. Their messages can resonate with a broad audience, and their influence can extend beyond their physical confines to raise awareness about important cultural and societal issues.

Sharing Your Collection

Museums, large or small, house remarkable collections. Social media allows them to share these treasures with the world. High-quality images and engaging stories create virtual access to collections, democratizing art and culture and making them accessible to all.

Real-Time Updates

Timely communication is essential for museums of all sizes. Social media ensures that museums can inform their audience about changing exhibitions, special events, and other critical updates instantly. This real-time connection keeps visitors informed and engaged.

User-Generated Content

Visitors can become ambassadors for museums by sharing their experiences on social media. Whether it's a selfie with a famous artwork or a heartfelt testimonial, user-generated content is a powerful testament to the museum's impact and can attract new audiences.

Data-Driven Insights

Social media platforms offer valuable insights through analytics tools. Museums can analyze data to understand their audience, adjust their strategies, and deliver content that resonates with their followers, regardless of the institution's size.

Also, regular posting allows you to maintain a consistent message and brand image. Whether you're focusing on art, history, science, or a combination of these, a steady stream of content reinforces your museum's identity.

Why is it important to post regularly?

Many social media platforms use algorithms to determine what content appears in users' feeds. Consistent posting can positively impact how these algorithms prioritize your content, ensuring that more of your posts are seen by your followers.

By posting on a regularly  this can lead to audience growth. Engaging content encourages followers to share and recommend your museum to their networks, increasing your reach and potential for more followers.

Key Takeaways...

Social media is an essential tool for museums, notwithstanding of their size. It empowers museums to reach wider audiences, engage with their communities, and fulfill their educational and cultural missions. Whether you're a large, well-established institution or a small, community-focused museum, harnessing the power of social media is a vital step in remaining relevant, increasing your impact, and ensuring your place in the digital age. Embrace social media, and watch your museum's influence grow, no matter its size.

Article written by: Alison Costanzo IAM Board Member and Executive Director of the Lombard Historical Society. 

By: Dave Oberg, Executive Director

Elmhurst History Museum

Private sector investment in your museum through corporate sponsorships not only helps your institution find critical underwriting for expensive exhibits, events and programs, but also provides a valuable tool to broaden exposure, amplify your message and build relationships with businesses that can pay big dividends in the future. Creating a well-crafted, sponsor pitch, with an escalating ladder of sponsor recognition tools, can position your organization to attract and grow support over time. Following up that pitch with an opportunity to engage the business community at your museum can further grow your base of support in the business community. Below, please find a recent example of how the Elmhurst Heritage Foundation, the non-profit fundraising arm of the Elmhurst History Museum, significantly grew sponsorships through an organized campaign.

In 2018, members of the Elmhurst Heritage Foundation’s Membership and Development Committee worked to overhaul their approach to seeking exhibit sponsorships at the suggestion of committee member Ken Bartels. Bartels worked with us to create an organized campaign, with a ladder of sponsor recognition levels, in an effort to jumpstart our efforts after a long plateau. Key to this approach was establishing a top or “platinum” level for a single sponsor at a significant funding level, which would ensure that our lead sponsor received marquee attention for all five of our exhibits in the 2019 season. The combination of a sole sponsorship at the highest level, combined with exposure for our lead business on all exhibit banners, posters, calendars of events and other promotional materials, made this an attractive opportunity for a local business. Below the “platinum” level were two “gold” level sponsorships, with significant attention for up to three exhibits, followed by a “silver” level reserved for four businesses, that offered enhanced attention for an exhibition of their choice. Lower level “bronze” and “friend” level recognition packages were also included, to allow smaller institutions a chance to buy in and support the museum at a level comfortable for them.

To pitch this approach, the committee created a double-sided flyer, outlining upcoming exhibits on one side, and donor levels, with commensurate recognition, on the reverse. A friendly cover letter accompanied the flyer, along with a return card and envelope. (Please see attached example). As members of the Elmhurst Chamber of Commerce and Industry, the Elmhurst Heritage Foundation purchased for a minimal fee, a mailing list of local businesses. Key committee members then reviewed the list, honing it to roughly 300 businesses to receive solicitations by mail.

As a follow up, the Foundation hosted a Chamber After Hours event roughly a month after the sponsorship mailing went out, providing refreshments and an opportunity to visit the museum’s current exhibition. Foundation members, armed with fresh packets, developed a “divide and conquer” strategy for the evening, following up on the mailing with personal discussions with business leaders in attendance. The result was an immediate success. In the first year, the campaign quadrupled sponsor investments in exhibits. The following year, we doubled our 2019 investment, and the program continues to grow each year. The combination of a well-thought out sponsor recognition system, an organized mailing campaign, and a personal follow-up at a museum event has proven a successful model for the museum.