The 2015 American Alliance of Museums Annual Meeting, April 2015
The theme for the 2015 American Alliance of Museums Annual Meeting, held this year in Atlanta, the birthplace of Martin Luther King Jr., was “The Social Value of Museums: Inspiring Change”. It was a theme that took on increasing relevance as the week went by, filled as it was with news of the rioting in Baltimore following the death of Freddie Gray.
As human beings, one thing that makes us unique is our ability to look back and interpret the past, as well as plan for, imagine and influence the future. Museums and monuments do a great job of preserving the past and making meaning. The Martin Luther King Jr. National Historic Site, established in 1980, is a fine monument to the life of one man who changed the world. I visited the Baptist church where he was minister and where his funeral was held; I sat in a pew and listened to a recording of one of his impassioned sermons. The neighbouring Visitor Center, that documents his life, was alive with school groups.
I also visited the new Center for Civil and Human Rights opened last year in a prominent location beside The World of Coca-Cola museum attraction. According to the Center’s CEO Doug Shipman, the dramatic architecture of the Centre represents two hands cupping something important—the people and history inside. The goal was to make the architecture part of the storytelling. (video interviews)
Museums can be seen as a safe space to engage in conversations about what matters most to communities. In a lively AAM session, “The Social Value of Brick-and-Mortar Museums in a Digital Age”, panel members were asked to choose and defend one key word that speaks to the essence of museums. The words they chose were: public, time, real, identity and threshold. The Center for Civil and Human Rights encompasses all of these key words. Its primarily media-based collection was upheld as having the power to hold your attention longer than the on-line world could. An immersive experience at the Center, that reduced more than one conference delegate to tears, re-created the famous Woolworth’s Lunch Counter in Greensboro, North Carolina where in 1960 four African American students sat in a passive demonstration against segregation. This event ignited a series of sit-ins and demonstrations throughout the South. In the re-creation, you sit on a stool and place your hands on the counter while being subjected to escalating threats directed against you. I could not stay seated for more than a minute.
So what can we do in our new museum at the Bank of Canada? The keywords identified by the panellists resonated with me, encouraging me to apply them to our own undertaking. In our preliminary work we have confirmed that we will be the public face of the Bank of Canada, and that we will look back in time to learn more about Canada’s developing economy and showcase the collection to better understand our history. Having a real museum, rather than solely a digital one, means that we will provide a meeting place for the discussion of ideas, for people to connect with and explore issues in a thoughtful, non-threatening way. Money touches everybody and our relationship with money affects our sense of identity— how we see ourselves. And finally, our new entrance sweeping skywards towards the Houses of Parliament will be visible as the threshold of the Bank of Canada, an institution whose responsibility is to play a central role in the economic wellbeing of all Canadians.
With close to 4500 delegates attending this year and over 190 sessions to choose from, the American Alliance of Museums conference is the largest museum conference in the world. Handouts are available for download and the AAM provides an invaluable source of information for museum professionals.
When the Barenaked Ladies released “If I Had a $1,000,000,” they could have considered themselves reasonably rich. And today? Well, there’s this inflation thing…
Johnson’s entire family, two girls and five boys, was involved in the counterfeiting operation: dad made the plates, the daughters forged the signatures and the boys were learning to be engravers.
Among 1975 $50 bill’s various design proposals were three images, three thematic colours and even three printing methods.
Using a Bank of Canada Museum lesson plan, nearly 200 students told us who they thought should be the bank NOTE-able Canadian on our new $5 bill.
Reid was on the verge of ruin, yet insisted on continuing railway construction. Suffering huge losses, and with no credit or cash resources, Reid issued wage notes to pay his employees.
In January 2021, 17 of our old bank notes will lose their legal tender status—what does that mean?
There’s little doubt that the BCP45 is lovingly preserved today partly thanks to being immortalized on this beautiful blue five-dollar bill.
Among the laser pistols, hover cars and androids of science fiction, there’s an elderly elephant in the room: money.
The Bank of Canada Museum set some very ambitious goals at the end of 2018. We have managed to achieve more in one year than we had since we opened in 2017.
Private Edward Atkinson’s example of trench art is what is called a “love token”—a souvenir made from a coin. It’s one man’s personal wartime experience expressed through a pocket-sized medium.