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beloved Louisiana State University, and a revolver and suit jacket that belonged to Long’s bodyguard George McQuiston. We borrowed several items from Tulane University, the University of New Orleans, and Louisiana State University, including a Share the Wealth Society enrollment card and a handwritten death threat. I also contacted the WPA Film Library and was able to obtain four short newsreel clips that feature Long at various public events. I’m happy that we were able to feature these clips in the exhibition because he was a very powerful speaker, and it’s easy to see why people were drawn to him and why he was so successful in gathering public support. Once John, Matt, and I had chosen our objects for the exhibition, we worked with our registration and preparation departments to design the installation and coordinate the movement of artifacts within the museum. The preparation department uses software that allows us to create 3-D models of our galleries and our objects so that we can work together to plan the layout well in advance. Once our text panels were written we sent them to editors in our publications department to be reviewed. The most important qualities that we want in our written text are accuracy, brevity, and consistency in style. Our editors reviewed the labels and gave us feedback, and we worked together until the text panels and labels were ready to be printed for the exhibition. Finally, once the exhibition was mounted, John, Matt, and I met with our docent staff to walk through the exhibition and answer any questions they had about the objects in the show. The docents begin learning about each exhibition long before it opens to the public, so that they are very familiar with the topic and able to answer any question a visitor might have. I also planned programming for the general public that related to the exhibition. On July 12 we screened the documentary 61 Bullets, which explores the circumstances and aftermath of Long’s death, and held a panel discussion with the filmmaker, Yvonne Boudreaux, as well as two of the film interviewees, Michael Wynne and Alecia Long. On September 19 we’ll screen the 1949 classic based on Long’s career, All the Kings Men. From Winnfield to Washington will be on display through October 11, and I hope you can come to The Historic New Orleans Collection to see it. Creating an exhibition goes far beyond the work of a curator, or curators. It’s truly a team effort. —AMANDA MCFILLEN LONG SHOT. ASSAILANT SLAIN [ DOCTOR KILLED ! AFTER SHOOTING SENIOR SENATOR STAFF NEWS New Staff Christopher L. Deris, associate preparator. Dale Gunnoe, head preparator. Karyn Murphy, development associate. Jenny Schwartzberg, education coordinator. Heather M. Szafran, reference assistant. Eric Tallman, security manager. Changes Susan Eberle is now collections processor. Matt Farah is now museum programs assistant. Robert R. Gates III is now associate preparator. Kara B. LeBeouf is now associate preparator. Publications Erin M. Greenwald published a review of Brett Rushforth’s Bonds of Alliance: Indigenous and Atlantic Slaveries in New France in Louisiana History 56.2 (spring 2015). Robert Ticknor, reference assistant, has taken up responsibility for writing the history feature in French Quarterly magazine. For years, the articles were written by Senior Curator/Historian John T. Magill, who recently retired. Honors In May 2015, Lauren Noel, marketing associate, earned a master of arts degree in English, with a concentration in professional writing, from the University of New Orleans Listening on the Edge: Oral History in the Aftermath of Crisis (Oxford University Press, 2014), co-edited by Senior Curator/Oral Historian Mark Cave and Stephen Sloan of Baylor University, was awarded the Oral History Association’s 2015 Book Award. Cave wrote the introduction, as well as a chapter related to The Collection’s oral history efforts following Hurricane Katrina. Fall 2015 11
New Orleans Quarterly 2015 Fall (13)